Title: The Rámáyan of Válmíki, translated into English verse
Author: Valmiki
Translator: Ralph T. H. Griffith
Release date: March 18, 2008 [eBook #24869]
Language: English
The RÁMÁYAN of VÁLMÍKI
Translated into English Verse
by
Ralph T. H. Griffith, M.A.
Principal of the Benares College
London: Trübner & Co.
Benares: E. J. Lazarus and Co.
1870-1874
[I am compelled to omit Cantos XXXVII and XXXVIII, The Glory of Umá, and the Birth of Kártikeya, as both in subject and language offensive to modern taste. They will be found in Schlegel's Latin translation.]
[I omit Canto V. which corresponds to chapter XI. in Gorresio's edition. That scholar justly observes: “The eleventh chapter, Description of Evening, is certainly the work of the Rhapsodists and an interpolation of later date. The chapter might be omitted without any injury to the action of the poem, and besides the metre, style, conceits and images differ from the general tenour of the poem; and that continual repetition of the same sounds at the end of each hemistich which is not exactly rime, but assonance, reveals the artificial labour of a more recent age.” The following sample will probably be enough.
I am unable to show the difference of style in a translation.]
[I omit the 28th and 29th Cantos as an unmistakeable interpolation. Instead of advancing the story it goes back to Canto XVII, containing a lamentation of Sítá after Rávaṇ has left her, and describes the the auspicious signs sent to cheer her, the throbbing of her left eye, arm, and side. The Canto is found in the Bengal recension. Gorresio translates it. and observes: “I think that Chapter XXVIII.—The Auspicious Signs—is an addition, a later interpolation by the Rhapsodists. It has no bond of connexion either with what precedes or follows it, and may be struck out not only without injury to, but positively to the advantage of the poem. The metre in which this chapter is written differs from that which is generally adopted in the course of the poem.”]
[I omit two Cantos of dialogue. Sítá tells Hanumán again to convey her message to Ráma and bid him hasten to rescue her. Hanumán replies as before that there is no one on earth equal to Ráma, who will soon come and destroy Rávaṇ. There is not a new idea in the two Cantos: all is reiteration.]
[Three Cantos consisting of little but repetitions are omitted. Dadhimukh escapes from the infuriated monkeys and hastens to Sugríva to report their misconduct. Sugríva infers that Hanumán and his band have been successful in their search, and that the exuberance of spirits and the mischief complained of, are but the natural expression of their joy. Dadhimukh obtains little sympathy from Sugríva, and is told to return and send the monkeys on with all possible speed.]
[I omit Cantos LV, LVI, LVII, and LVIII, which relate how Akampan and Prahasta sally out and fall. There is little novelty of incident in these Cantos and the results are exactly the same as before. In Canto LV, Akampan, at the command of Rávaṇ, leads forth his troops. Evil omens are seen and heard. The enemies meet, and many fall on each side, the Vánars transfixed with arrows, the Rákshases crushed with rocks and trees.
In Canto LVI Akampan sees that the Rákshases are worsted, and fights with redoubled rage and vigour. The Vánars fall fast under his “nets of arrows.” Hanumán comes to the rescue. He throws mountain peaks at the giant which are dexterously stopped with flights of arrows; and at last beats him down and kills him with a tree.
In Canto LVII, Rávaṇ is seriously alarmed. He declares that he himself, Kumbhakarṇa or Prahasta, must go forth. Prahasta sallies out vaunting that the fowls of the air shall eat their fill of Vánar flesh.
In Canto LVIII, the two armies meet. Dire is the conflict; ceaseless is the rain of stones and arrows. At last Níla meets Prahasta and breaks his bow. Prahasta leaps from his car, and the giant and the Vánar fight on foot. Níla with a huge tree crushes his opponent who falls like a tree when its roots are cut.]
[I have briefly despatched Kumbha and Nikumbha, each of whom has in the text a long Canto to himself. When they fall Rávaṇ sends forth Makaráksha or Crocodile-Eye, the son of Khara who was slain by Ráma in the forest before the abduction of Sítá. The account of his sallying forth, of his battle with Ráma and of his death by the fiery dart of that hero occupies two Cantos which I entirely pass over. Indrajít again comes forth and, rendered invisible by his magic art slays countless Vánars with his unerring arrows. He retires to the city and returns bearing in his chariot an effigy of Sítá, the work of magic, weeping and wailing by his side. He grasps the lovely image by the hair and cuts it down with his scimitar in the sight of the enraged Hanúmán and all the Vánar host. At last after much fighting of the usual kind Indrajít's chariot is broken in pieces, his charioteer is slain, and he himself falls by Lakshmaṇ's hand, to the inexpressible delight of the high-souled saints, the nymphs of heaven and other celestial beings.]
[I omit two Cantos in the first of which Ráma with an enchanted Gandharva weapon deals destruction among the Rákshases sent out by Rávaṇ, and in the second the Rákshas dames lament the slain and mourn over the madness of Rávaṇ.]
[I omit several weapons for which I cannot find distinctive names, and among them the Sataghní or Centicide, supposed by some to be a kind of fire-arms or rocket, but described by a commentator on the Mahábhárata as a stone or cylindrical piece of wood studded with iron spikes.]
[I omit Cantos XCVII, XCVIII, and XCIX, which describe in the usual way three single combats between Sugríva and Angad on the Vánar side and Virúpáksha, Mahodar, and Mahápárśva on the side of the giants. The weapons of the Vánars are trees and rocks; the giants fight with swords, axes, and bows and arrows. The details are generally the same as those of preceding duels. The giants fall, one in each Canto.]
[I omit Cantos CIV and CV in which the fight is renewed and Rávaṇ severely reprimands his charioteer for timidity and want of confidence in his master's prowess, and orders him to charge straight at Ráma on the next occasion.]
[This Canto does not appear in the Bengal recension. It comes in awkwardly and may I think be considered as an interpolation, but I paraphrase a portion of it as a relief after so much fighting and carnage, and as an interesting glimpse of the monotheistic ideas which underlie the Hindu religion. The hymn does not readily lend itself to metrical translation, and I have not attempted here to give a faithful rendering of the whole. A literal version of the text and the commentary given in the Calcutta edition will be found in the Additional Notes.
A canto is here omitted. It contains fighting of the ordinary kind between Ráma and Rávaṇ, and a description of sights and sounds of evil omen foreboding the destruction of the giant.]
Afterwards Rishyaśring said again to the King “I will perform another sacrificial act to secure thee a son.” Then the son of Vibháṇdak, of subdued passions, seeking the happiness of the king, proceeded to perform the sacrifice for the accomplishment of his wishes. Hither were previously collected the gods, with the Gandharvas, the Siddhas and the sages, for the sake of receiving their respective shares, Brahmá too, the sovereign of the gods, with Stháṇu, and Náráyaṇa, chief of beings and the four supporters of the universe, and the divine mothers of all the celestials, met together there. To the Aśvamedha, the great sacrifice of the magnanimous monarch, came also Indra the glorious one, surrounded by the Maruts. Rishyaśring then supplicated the gods assembled for their share of the sacrifice (saying), “This devout king Daśaratha, who, through the desire of offspring, confiding in you, has performed sacred austerities, and who has offered to you the sacrifice called Aśvamedha, is about to perform another sacrifice for the sake of obtaining sons: To him thus desirous of offspring be pleased to grant the blessing: I supplicate you all with joined hands. May he have four sons, renowned through the universe.” The gods replied to the sage's son supplicating with joined hands, “Be it so: thou, O Bráhman, art ever to be regarded by us, as the king is in a peculiar manner. The lord of men by this sacrifice shall obtain the great object of his desires.” Having thus said, the gods preceded by Indra, disappeared.
They all then having seen that (sacrifice) performed by the great sage according to the ordinance went to Prajápati the lord of mankind, and with joined hands addressed Brahmá the giver of blessings, “O Brahmá, the Ráksha Rávaṇa by name, to whom a blessing was awarded by thee, through pride troubleth all of us the gods, and even the great sages, who perpetually practise sacred austerities. We, O glorious one, regarding the promise formerly granted by thy kindness that he should be invulnerable to the gods, the Dánavas and the Yakshas have born (sic) all, (his oppression); this lord of Rákshas therefore distresses the universe; and, inflated by this promise unjustly vexes the divine sages, the Yakshas, and Gandharvas, the Asuras, and men: where Rávaṇa remains there the sun loses his force, the winds through fear of him do not blow; the fire ceases to burn; the rolling ocean, seeing him, ceases to move its waves. Viśravas, distressed by his power, has abandoned Lanká and fled. O divine one save us from Rávaṇa, who fills the world with noise and tumult. O giver of desired things, be pleased to contrive a way for his destruction.”
Brahmá thus informed by the devas, reflecting, replied, “Oh! I have devised the method for slaying this outrageous tyrant. Upon his requesting, ‘May I be invulnerable to the divine sages, the Gaundharvas, the Yakshas, the Rákshasas [pg 508] and the serpents,’ I replied ‘Be it so.’ This Ráksha, through contempt, said nothing respecting man; therefore this wicked one shall be destroyed by man.” The gods, preceded by Śakra, hearing these words spoken by Brahmá, were filled with joy.
At this time Vishṇu the glorious, the lord of the world, arrayed in yellow, with hand ornaments of glowing gold, riding on Vinateya, as the sun on a cloud, arrived with his conch, his discus, and his club in his hand. Being adored by the excellent celestials, and welcomed by Brahmá, he drew near and stood before him. All the gods then addressed Vishṇu, “O Madhusudana, thou art able to abolish the distress of the distressed. We intreat thee, be our sanctuary, O Vishṇu.” Vishṇu replied, “Say, what shall I do?” The celestials hearing these his words added further. “The virtuous, the encourager of excellence, eminent for truth, the firm observer of his vows, being childless, is performing an Aśvamedha for the purpose of obtaining offspring. For the sake of the good of the universe, we intreat thee, O Vishṇu, to become his son. Dividing thyself into four parts, in the wombs of his three consorts equal to Hari, Śrí, and Kirti, assume the sonship of king Daśaratha, the lord of Ayodhyá, eminent in the knowledge of duty, generous and illustrious, as the great sages. Thus becoming man, O Vishṇu, conquer in battle Rávaṇa, the terror of the universe, who is invulnerable to the gods. This ignorant Rákshasa Rávaṇa, by the exertion of his power, afflicts the gods, the Gandharvaa, the Siddhas, and the most excellent sages; these sages, the Gandharvas, and the Apsaras, sporting in the forest Nandana have been destroyed by that furious one. We, with the sages, are come to thee seeking his destruction. The Siddhas, the Gandharvas, and the Yakshas betake themselves to thee, thou art our only refuge; O Deva, afflicter of enemies, regard the world of men, and destroy the enemy of the gods.”
Vishṇu, the sovereign of the gods, the chief of the celestials, adored by all beings, being thus supplicated, replied to all the assembled gods (standing) before Brahmá, “Abandon fear; peace be with you; for your benefit having killed Rávaṇa the cruel, destructively active, the cause of fear to the divine sages, together with all his posterity, his courtiers and counsellors, and his relations, and friends, protecting the earth, I will remain incarnate among men for the space of eleven thousand years.”
Having given this promise to the gods, the divine Vishṇu, ardent in the work, sought a birth-place among men. Dividing himself into four parts, he whose eyes resemble the lotus and the pulasa, the lotus petal-eyed, chose for his father Daśaratha the sovereign of men. The divine sages then with the Gandharvas, the Rudras, and the (different sorts of) Apsaras, in the most excellent strains, praised the destroyer of Madhu, (saying) “Root up Rávaṇa, of fervid energy, the devastator, the enemy of Indra swollen with pride. Destroy him, who causes universal lamentation, the annoyer of the holy ascetics, terrible, the terror of the devout Tapaswis. Having destroyed Rávaṇa, tremendously powerful, who causes universal weeping, together with his army and friends, dismissing all sorrow, return to heaven, the place free from stain and sin, and protected by the sovereign of the celestial powers.”
Thus far the Section, containing the plan for the death of Rávaṇ.
Carey and Marshman.
Prudens ille, voluminum sacrorum gnarus, responsum quod dederat aliquamdiu meditatus, mente ad se revocata regem deuno est effatus: Parabo tibi aliud sacrum, genitale, prolis masculae adipiscendae gratia, cum carminibus in Atharvanis exordio expressis rite peragendum. Tum coepit modestus Vibhândaci filius, regis commodis intentus, parare sacrum, quo eius desiderium expleret. Iam'antea eo convenerant, ut suam quisque portionem acciperent, Dî cum fidicinum coelestium choris, Beatique cum Sapientibus; Brachman Superûm regnator, Sthânus nec non augustus Nârâyanus, Indrasque almus, coram visendus Ventorum cohorte circumdatus, in magno isto sacrificio equino regis magnanimi. Ibidem vates ille deos, qui portiones suas accipiendi gratia advenerant, apprecatus, En inquit, hicce ex Dasarathus filiorum desiderio castimoniis adstrictus, fidei plenus, vestrum numen adoravit sacrificio equino. Nunc iterum accingit se ad aliud sacrum peragendum: quamobrem aequum est, ut filios cupienti vos faveatis. Ille ego, qui manus supplices tendo, vos universos pro eo apprecor: nascantur ei filii quatuor, faina per triplicem mundum clari. Divi supplicem vatis filium invicem affari: Fiat quod petis! Tu nobis, virsancte, imprimis es venerandus, nee minus rex ille; compos fiet voti sui egregii hominum princeps. Ita locuti Dî Indra duce, ex oculis evanuerunt.
Superi vero, legitime in concilio congregati. Brachmanem mundi creatorem his verbis compellarunt: Tuo munere auctus, O Brachman! gigas nomine Râvanas, prae superbia nos omnes vexat, pariterque Sapientes castimoniis gaudentes. A te propitio olim ex voto ei hoc munus concessum fuit, ut ne a diis, Danuidis, Geniisve necari posset. Nos, oraculum tuum reveriti, facinora eius qualiacunque toleramus. At ille gigantum tyrannus ternos mundos gravibus iniuriis vexat Deos, Sapientes, Genios, Fidicines coelestes, Titanes, mortales denique, exsuperat ille aegre cohibendus, tuoque munere demens. Non ibi calet sol, neque Ventus prae timore spirat, nee flagrat ignis, ubi Râvanas versatur. Ipse oceanus, vagis fluctibus redimitus, isto viso stat immotus; eiectus fuit e sede sua Cuvêrus, huius robore vexatus. Ergo ingens nobis periculum imminet ab hoc gigante visu horribili; tuum est, alme Parens! auxilium parare, quo hic deleatur. Ita admonitus ille a diis universis, paulisper meditatus, Ehem! inquit, hancce inveni rationem nefarium istum necandi. Petierat is a me, ut a Gandharvis, a Geniis, a Divis, Danuibus Gigantibusque necari non posset et me annuente voto suo potitus est. Prae contemptu vero monstrum illud homines non commemoravit: ideo ab homine est necandus: nullum aliud exstat leti genus, quod ei sit fatale. Postquam audiverant gratum hunc sermonem Brachmanis ore prolatum, Dî cum duce suo Indra summopere gaudio erecti sunt. Eodem temporis momento Vishnus, istuc accessit, splendore insignis, concham, discum et clavum manibus gestans, croceo vestitu, mundi dominus, vulturis Vinateii dorso, sicuti sol nimbo, vectus, armillas ex auro candente gerens, salutatus a Superûm primoribus. Quem laudibus celebratum reverenter Dî universi compellarunt. Tu animantium afflictorum es vindex, Madhûs interfector! quamobrem nos afflicti te apprecamur. Sis praesidio nobis numine tuo inconcusso. Dicite, inquit Vishnus, quid pro vobis facere [pg 510] me oporteat. Audito eius sermone, Dî hunc in modum respondent: Rex quidam, nomine Dasarathus, austeris castimoniis sese castigavit, litavit sacrificio equino, prolis cupidus et prole carens. Nostro hortatu tu, Vishnus, conditionem natorum eius subeas: ex tribus eius uxoribus, Pudicitiae, Venustatis et Famae similibus, nasci, velis, temetipsum quadrifariam dividens. Ibi tu in humanam naturam conversus Râvanam, gravissimam mundi pestem, diis insuperabilem, O Vishnus! proelio caede. Gigas ille vecors Râvanas Deos cum Fidicinum choris, Beatos et Sapientes praestantissimos vexat, audacia superbiens. Etenim ab hoc furioso Sapientes Fidicines et nymphae, ludentes in Nandano viridario, sunt proculcati. Tu es nostrum omnium summa salus, divine bellator! Ut deoram hostes extinguas, ad sortem humanam animum converte. Augustus ille Nârâyanus, diis hunc in modum coram hortantibus, eosdem apto hoc sermone compellavit: Quare, quaeso, hac in re negotium vestrum a me potissimum, corporea specie palam facto, est peragendum aut unde tantus vobis terror fuit iniectus? His verbis a Vishnû interrogati Dî talia proferre: Terror nobis instat, O Vishnus! a Râvana mundi direptore; a quo nos vindicare, corpore humano assumpto, tuum est. Nemo alius coelicoiarum praeter te hunc scelestum enecare potis est. Nimirum ille, O hostium domitor! per diuturnum tempus sese excruciaverat severissima abstinentia, qua magnus hicce rerum Parens propitius ipsi redditus est. Itaque almus votorum sponsor olim ei concessit securitatem ab ommibus animantibus, hominibus tamen exceptis. Hinc ilium, voti compotem, non aliunde quam ab homine necis periculum urget: tu ergo, humanitate assumpta eum intertice. Sic monitus Vishnus, Superûm princeps, quem mundus universus adorat, magnum Parentem oeterosque deos, in concilio congregatos, recti auctores, affatur: Mittite timorem; bene bobis eveniat! Vestrae salutis gratia, postquam praelio necavero Râvanam cum filiis nepotibusque, cum amicis, ministris, cognatis sociisque, crudelem istum aegre cohibendum, qui divinis Sapientibus terrorem meutit, per decem millia annorum decies centenis additis, commorabor in mortalium sedibus, orbem terrarum imperio regens. Tum divini sapientes et Fidicines conjuncti cum Rudris nympharumque choris celebravere Madhûs interfectorem hymnis, quales sedem aetheriam decent.
“Râvanam ilium insolentem, acri impetu actum, superbia elatum, Superûm hostem, tumultus cientem, bonorum piorumque pestem, humanitate assumpta pessamdare tuum est.”
Schlegel.
Ma Riseyasringo soggiunse poscia al re: Tappresterò io un altro rito santissimo, genitale, onde tu conseguisca la prole che tu bramí. E in quel punto stesso il saggio figliulo di Vibhândaco, intento alla prosperità del re, pose mano al sacro rito per condurre ad effetto il suo desiderio. Già erano prima, per ricevere ciascuno la sua parte, qui convenuti al gran sacrifizio del re magnanimo l'Asvamedha, i Devi coi Gandharvi, i Siddhi e i Muni, Brahma Signor dei Sari, Sthânu e l' Augusto Nârâyana, i quattio custodi dell' universo e le Madri degli Iddu, i Yacsi insieme cogli Dei, e il sovrano, venerando Indra, visibile, circondato [pg 511] dalla schiera dei Maruti. Quivi così parlò Riscyasringo agli Dei venuti a partecipare del sacrifizio: Questo è il re Dasaratha, che per desiderio di progenie già s' astrinse ad osservanze austeré, e testè pieno di fede ha a voi, O eccelsi, sacrificato con un Asvamedha. Ora egli, sollecito d' aver figli, si dispone ad adempiere un nuovo rito; vogliate essere favorevole a lui che sospira progenie. Io alzo a voi supplici le mani, e voi tutti per lui imploro: nascano a lui quattro figli degni d'essere celebrati pei tre mondi. Risposero gli Dei al supplichevole figliuolo del Risci: Sia fatto ciò che chiedi; a te ed al re parimente si debbe da noi, O Brahmano, sommo pregio; canseguirà il re per questo sacro rito il suo suppremo desiderio. Ciò detto disparvero i Numi preceduti da Indra.
Poichè videro gli Dei compiersi debitamente dal gran Risci l'oblazione, venuti al cospetto di Brahma facitor del mondo, signor delle creature, così parlarono reverenti a lui dator di grazie: O Brahma, un Racsaso per nome Râvano, eui tu fosti largo del tuo favore, è per superbia infesto a noi tutti e ai grandi Saggi penitenti. Un di, O Nume, augusto, tu propizio a lui gli accordasti il favore, ch' egli bramava, di non poter essere ucciso dagli Dei, dai Dânavi nè dai Yacsi: noi venerando i tuoi oracoli, ogni cosa sopportiamo da costui. Quindi il signor dei Racsasi infesta con perpetue offese i tre mondi, i Devi, i Risci, i Yacsi ed i Gandharvi, gli Asuri e gli uomini: tutti egli opprime indegnamente inorgoglito pel tuo dono. Colà dove si trova Râvano, più non isfavilla per timore il sole, più non spira il vento, più non fiammeggia il fuoco: l' oceano stesso cui fan corona i vasti flutti, veggendo costui, tutto si turba e si commuove. Stretto dalla forza di costui e ridotto allo stremo dovette Vaisravano abbandonare Lancâ. Da questo Râvano, terror del mondo, tu ne proteggi, O almo Nume: degna, O dator d'ogni bene, trovar modo ad estirpar costui. Fatto di queste cose conscio dai Devi, stette alquanto meditando, poi rispose Brahma: Orsù! è stabilito il modo onde distruggere questo iniquo. Egli a me chiese, ed io gliel concessi, di non poter essere ucciso dai Devi, dai Risci, dai Gandharvi, dai Yacsi, dai Racsasi nè dai Serpenti; ma per disprezzo non fece menzione degli uomini quel Racso: or bene, sarà quell' empio ucciso da un uomo. Udite le fauste parole profferte da Brahma, furono per ogni parte liete gli Iddii col loro duce Indra. In questo mezzo quì sopravvenne raggiante d'immensa luce il venerando Visnu, pensato da Brahma nell' immortal sua mente, siccome atto ad estirpar colui; Allora Brahma colla schiera de' Celesti così parlò a Visnu: Tu sei il conforto delle gente oppresse, O distruttor di Madhu: noi quindi a te supplichiamo afflitti: sia tu nostro sostegno, O Aciuto. Dite, loro rispose Visnu, quale cosa io debba far per voi; e gli Dei, udite queste parole, cosi soggiunsero: Un re per nome Dasaratha, giusto, virtuoso, veridico e pio, non ha progenie e la desidera: ei già s' impose durissime penitenze, ed ora ha sacrificato con un Asvamedha: tu, per nostro consiglio, O Visnu, consenti a divenir suo figlio: fatte di te quattro parti, ti manifesta, O invocato dalle genti, nel seno delle quattro sue consorti, simili alla venusta Dea. Così esortato dagli Dei quivi presenti, l'augusto Nârâyana loro rispose queste opportune parole: Quale opra s'ha da me, fatto visible nel mondo, a compiere per voi, O Devi? e d'onde in voi cotal terrore? Intese le parole di Visnu, così risposero gli Dei: Il nostro terrore. O Visnu, nasce da un Racsaso per nome Râvano, spavento dell' universo. Vestendo umano corpo, tu debbi esterminar costui. Nessuno fra i Celesti, fuorchè tu solo, è valevole ad uccidere quell' iniquo. Egli, O domator de' tuoi nemici, sostenne per lungo tempo acerbissime [pg 512] macerazioni: per esse fu di lui contento l'augusto sommo Genitore: e un di gli accordò propizio la sicurezza da tutti gli esseri, eccettutine gli uomini. Per questo favore a lui concesso nou ha egli a temere offesa da alcuna parte, fuorchè dall' uomo, perciò, assumendo la natura umana, costui tu uccidi. Egli, il peggior di tutti i Racsasi, insano per la forza che gli infonde il dono avuto, da travaglio ai Devi ed ai Gaudharvi, ai Risci, ai Muni ed ai mortali. Egli, sicuro da morte pel favore ottenuto, è turbatore dei sacrifizj, nemico ed uccisor dei Brahmi, divoratore degli uomini, peste del mondo. Da lui furono assaliti re coi loro carri ed elefanti; altri percessi e fugati si dispersero per ogni dove. Da lui furono divorati Risci ed Apsarase: egli insomma oltracotato continuamente e quasi per ischerzo tutti travaglia i sette mondi. Perciò, O terribile ai nemici è stabilita la morte di costui per opra d'un uomo; poich' un di per superbia del dono tutti sprezzò gli uomini. Tu, O supremo fra i Numi, dei, umanandoti, estirpare questo tremendo, superbo Ràvano, oltracotato, a noi nemico, terrore e flagello dei penitenti.
Gorresio.
De nouveau Rishyaçringa tint ce langage au Monarque: “Je vais célébrer un autre sacrifice, afin que le ciel accorde à tes vœux les enfants que tu souhaites.” Cela dit, cherchant le bonheur du roi et pour l'accomplissement de son désir, le fils puissant de Vibhándaka se mit à célébrer ce nouveau sacrifice.
Là auparavant, étaient venus déjà recevoir une part de l' offrande les Dieux, accompagnés des Gaudharvas, et les Siddhas avec les Mounis divins, Brahma, le monarque des Souras, l' immuable Śiva, et l' auguste Náráyana, et les quatre gardiens vigilants du monde, et les mères des Immortels, et tous les Dieux, escortés des Yakshas, et le maître éminent du ciel, Indra, qui se manifestait aux yeux, environné par l' essaim des Maroutes. Alors ce jeune anachorète avait supplié tous les Dieux, que le désir d'une part dans l' offrande avait conduits á l' açwamédha, cette grande cérémonie de ce roi magnanime; et, dans ce moment, l' époux de Śántá les conjurait ainsi pour la seconde fois: “Cet homme en prières, c'est le roi Daçaratha, qui est privé de fils. Il est rempli d' une foi vive; il s'est infligé de pénibles austérités; il vous a déjà servi, divinités augustes, le sacrifice d'un açwa-médha, et maintenant il s'étudie encore à vous plaire avec ce nouveau sacrifice dans l'espérance que vous lui donnerez les fils, où tendent ses désirs. Versez donc sur lui votre bienveillance et daignez sourire à son vœu pour des fils. C'est pour lui que moi ici, les mains jointes, je vous adresse à tous mes supplications: envoyez-lui quatre fils, qui soient vantés dans les trois mondes!”
“Ouí! répondirent les Dieux au fils suppliant du rishi; tu mérites que nous t'écoutions avec faveur, toi, brahme saint, et même, en premier lieu, ce roi. Comme récompense de ces différents sacrifices, le monarque obtendra cet objet le plus cher de ses désirs.”
Ayant aussi parlé et vu que le grand saint avait mis fin suivant les rites à son pieux sacrifice, les Dieux, Indra à leur tête, s'évanouissent dans le vide des airs et se rendent vers l' architecte des mondes, le souverain des créatures, le donateur des biens, vers Brahma enfin, auquel tous, les mains jointes, ils adressent les paroles suivantes: “O Brahma, un rakshasa, nommé Râvana, tourne su [pg 513] mal les grâces, qu'il a reçues de toi. Dans son orgueil, il nous opprime tous; il opprime avec nous les grands anchorètes, qui se font un bonheur des macérations: car jadis, ayant su te plaire, O Bhagavat, il a reçu de toi ce don incomparable. ‘Oui, as-tu dit, exauçant le vœu du mauvais Génie; Dieu. Yaksha ou Démon ne pourra jamais causer ta mort!’ Et nous, par qui ta parole est respectée, nous avons tout supporté de ce roi des rakshasas, qui écrase de sa tyrannie les trois mondes, ou il promène l' injure impunément. Enorgueilli de ce don victorieux, il opprime indignement les Dieux, les rishis, les Yakshas, les Gandharvas, les Asouras et les enfants de Manou. Là ou se tient Râvana, la peur empêche le soleil d'échauffer, le vent craint de souffler, et le feu n'ose flamboyer. A son aspect, la guirlande même des grands flots tremble au sein de la mer. Accablé par sa vigueur indomptable, Kouvéra défait lui a cédé Lanká. Suave-nous donc, ô toi, qui reposes daus le bonheur absolu; sauve-nous de Râvana, le fléau des mondes. Daigne, ô toi, qui souris aux vœux du suppliant, daigne imaginer un expedient pour ôter la vie à ce cruel Démon.” Les Dieux ayant ainsi dénoncé leurs maux à Brahma, il réfléchit un instant et leur tint ce langage: “Bien, voici que j'ai découvert un moyen pour tuer ce Génie scélérat. Que ni les Dieux, a-t-il dit, ni les rishis, ni les Gandharvas ni les Yakshas, ni les rakshasas, ni les Nágas même ne puissent me donner la mort! Soit lui ai-je répondu. Mais, par dédain pour la force humaine, les hommes n'ont pas été compris daus sa demande. C'est donc par la main d' un homme, qu'il faut immoler ce méchant.” Ainsi tombée de la bouche du créateur, cette parole salutaire satisfit pleinement le roi des habitants du ciel et tous les Dieux avec lui. Lá, dans ce même instant, survint le fortuné Visnou, revêtu d' une splendeur infinie; car c'était a lui, que Brahma avait pensé dans son âme pour la mort du tyran. Celui-ci donc avec l'essaim des Immortels adresse à Vishnou ces paroles: “Meurtrier de Madhou, comme tu aimes á tirer de l'affliction les êtres malheureux, nous te supplions, nous qui sommes plongés dans la tristesse, Divinité auguste, sois notre asyle!” “Dites! reprit Vishnou; que dois-je faire?” “Ayant oui les paroles de l'ineffable, tous les Dieux repondirent: Il est un roi nommé Daçaratha; il a embrassé une très-duré pénitence; il a célébré même le sacrifice d'un açwa-medha, parce qu'il n'a point de fils et qu'il veut en obtenir du ciel. Il est inébranlable dans sa piété, il est vanté pour ses vertus; la justice est son caractère, la verite est sa parole. Acquiesce donc à notre demande, ô toi, Vishnou, et consens à naître comme son fils. Divisé en quatre portions de toi-même, daigne, ô toi, qui foules aux pieds tes ennemis, daigne t' incarner dans le sein de ses trois épouses, belles comme la déesse de la beauté.” Náráyana, le maître, non perceptible aux sens, mais qui alors s' était rendu visible, Náráyana répondit cette parole salutaire aux Dieux, qui i invitaient à cet heroique avatára. Quelle chose, une fois revêtu de cette incarnation, faudra-t-il encore que je fasse pour vous, et de quelle part vient la terreur, qui vous trouble ainsi? A ces mots du grand Vishnou: “C'est le démon Rávana, reprirent les Dieux; c'est lui, Vishnou, cette désolation des mondes, qui nous inspire un tel effroi. Enveloppe-toi d'un corps, humain, et qu'il te plaise arrâcher du monde cette blessante epine; car nul autre que toi parmi les habitants du ciel n'est capable d'immoler ce pécheur. Sache que longtemps il s'est imposé la plus austére pénitence, et que par elle il s'est rendu agreable au suprême ayeul de toutes les créatures. Aussi le distributeur ineffable des gràces lui a-t-il accordé ce don insigne d'être invulnérable à tous les êtres, l' [pg 514] homme seul excepté. Puisque, doué ainsi de cette faveur, la mort terrible et sûre ne peut venir à lui de nulle autre part que de l'homme, va, dompteur puissant de tes ennemis, va dans la condition humaine, et tue-le. Car ce don, auquel on ne peut résister, élevant au plus haut point l'ivresse de sa force, le vil rakshasa tourmente les Dieux, les rishis, les Gandharvas, les hommes sanctifiés par la pénitence; et, quoique, destructeur des sacrifices, lacérateur des Saintes Ecritures, ennemi des brahmes, dévorateur des hommes, cette faveur incomparable sauve de la mort Rávana le triste fléau des mondes. Il ose attaquer les rois, que défendant les chars de guerre, que remparent les élephants: d'autres blessés et mis en fuite, sont dissipés ça et là devant lui. Il a dévoré des saints, il a dévoré même une foule d'apsaras. Sans cesse, dans son délire, il s'amuse à tourmenter les sept mondes. Comme on vient de nous apprendre qu' il n'a point daigné parler d'eux ce jour, que lui fut donnée cette faveur, dont il abuse, entre dans un corps humain, ô toi, qui peux briser tes ennemis, et jette sans vie à tes pieds, roi puissant des treize Dieux, ce Rávana superbe, d'une force épouvantable, d'un orgueil immense, l'ennemi de tous les ascètes, ce ver, qui les ronge, cette cause de leurs gémissements.”
Ici, dans le premier tome du saint Râmâyana, Finit le quatorzième chapitre, nommé: Un Expédient pour tuer Rávana.
Hippolyte Fauche.
The Rámáyan ends, epically complete, with the triumphant return of Ráma and his rescued queen to Ayodhyá and his consecration and coronation in the capital of his forefathers. Even if the story were not complete, the conclusion of the last Canto of the sixth Book, evidently the work of a later hand than Válmíki's, which speaks of Ráma's glorious and happy reign and promises blessings to those who read and hear the Rámáyan, would be sufficient to show that, when these verses were added, the poem was considered to be finished. The Uttarakáṇḍa or Last Book is merely an appendix or a supplement and relates only events antecedent and subsequent to those described in the original poem. Indian scholars however, led by reverential love of tradition, unanimously ascribe this Last Book to Válmíki, and regard it as part of the Rámáyan.
Signor Gorresio has published an excellent translation of the Uttarakáṇḍa, in Italian prose, from the recension current in Bengal;1030 and Mr. Muir has epitomized a portion of the book in the Appendix to the Fourth Part of his Sanskrit Texts (1862). From these scholars I borrow freely in the following pages, and give them my hearty thanks for saving me much wearisome labour.
[pg 515]“After Ráma had returned to Ayodhyá and taken possession of the throne, the rishis [saints] assembled to greet him, and Agastya, in answer to his questions recounted many particulars regarding his old enemies. In the Krita Yuga (or Golden Age) the austere and pious Brahman rishi Pulastya, a son of Brahmá, being teased with the visits of different damsels, proclaimed that any one of them whom he again saw near his hermitage should become pregnant. This had not been heard by the daughter of the royal rishi Triṇavindu, who one day came into Pulastya's neighbourhood, and her pregnancy was the result (Sect. 2, vv. 14 ff.). After her return home, her father, seeing her condition, took her to Pulastya, who accepted her as his wife, and she bore a son who received the name of Viśravas. This son was, like his father, an austere and religious sage. He married the daughter of the muni Bharadvája, who bore him a son to whom Brahmá gave the name of Vaiśravaṇ-Kuvera (Sect. 3, vv. 1 ff.). He performed austerities for thousands of years, when he obtained from Brahmá as a boon that he should be one of the guardians of the world (along with Indra, Varuṇa, and Yáma) and the god of riches. He afterwards consulted his father Viśravas about an abode, and at his suggestion took possession of the city of Lanká, which had formerly been built by Viśvakarmán for the Rákshasas, but had been abandoned by them through fear of Vishṇu, and was at that time unoccupied. Ráma then (Sect. 4) says he is surprised to hear that Lanká had formerly belonged to the Rákshasas, as he had always understood that they were the descendants of Pulastya, and now he learns that they had also another origin. He therefore asks who was their ancestor, and what fault they had committed that they were chased away by Vishṇu. Agastya replies that when Brahmá created the waters, he formed certain beings,—some of whom received the name of Rákshasas,—to guard them. The first Rákshasas kings were Heti and Praheti. Heti married a sister of Kála (Time). She bore him a son Vidyutkeśa, who in his turn took for his wife Lankatanka[t.]á, the daughter of Sandhyá (V. 21). She bore him a son Sukeśa, whom she abandoned, but he was seen by Śiva as he was passing by with his wife Párvatí, who made the child as old as his mother, and immortal, and gave him a celestial city. Sukeśa married a Gandharví called Devavatí who bore three sons, Mályavat, Sumáli and Máli. These sons practised intense austerities, when Brahmá appeared and conferred on them invincibility and long life. They then harassed the gods. Viśvakarmá gave them a city, Lanká, on the mountain Trikúṭa, on the shore of [pg 516] the southern ocean, which he had built at the command of Indra.… The three Rákshasa, Mályavat and his two brothers, then began to oppress the gods, rishis, etc.; who (Sect. 6, v. 1 ff.) in consequence resort for aid to Mahádeva, who having regard to his protégé Sukeśa the father of Mályavat, says that he cannot kill the Rákshasas, but advises the suppliants to go to Vishṇu, which they do, and receive from him a promise that he will destroy their enemies. The three Rákshasa kings, hearing of this, consult together, and proceed to heaven to attack the gods. Vishṇu prepares to meet them. The battle is described in the seventh section. The Rákshasas are defeated by Vishṇu with great slaughter, and driven back to Lanká, one of their leaders, Máli, being slain. Mályavat remonstrates with Vishṇu, who was assaulting the rear of the fugitives, for his unwarrior-like conduct, and wishes to renew the combat (Sect. 8, v. 3 ff.). Vishṇu replies that he must fulfil his promise to the gods by slaying the Rákshasas, and that he would destroy them even if they fled to Pátála. These Rákshasas, Agastya says, were more powerful than Rávaṇa, and, could only be destroyed by Náráyaṇa, i.e. by Ráma himself, the eternal, indestructible god. Sumáli with his family lived for along time in Pátála, while Kuvera dwelt in Lanká. In section 9 it is related that Sumáli once happened to visit the earth, when he observed Kuvera going in his chariot to see his father Viśravas. This leads him to consider how he might restore his own fortunes. He consequently desires his daughter Kaikasí to go and woo Viśravas, who receives her graciously. She becomes the mother of the dreadful Rávaṇa, of the huge Kumbhakarṇa, of Śúrpaṇakhá, and of the righteous Vibhishaṇa, who was the last son. These children grow up in the forest. Kumbhakarṇa goes about eating rishis. Kuvera comes to visit his father, when Kaikasí takes occasion to urge her son Rávaṇa to strive to become like his brother (Kuvera) in splendour. This Rávaṇa promises to do. He then goes to the hermitage of Gokarna with his brothers to perform austerity. In section 10 their austere observances are described: after a thousand years' penance Rávaṇa throws his head into the fire. He repeats this oblation nine times after equal intervals, and is about to do it the tenth time, when Brahmá appears, and offers a boon. Rávaṇa asks immortality, but is refused. He then asks that he may be indestructible by all creatures more powerful than men; which boon is accorded by Brahmá together with the recovery of all the heads he had sacrificed and the power of assuming any shape he pleased. Vibhishaṇa asks as his boon that even amid the greatest calamities he may think only of righteousness, and that the weapon of Brahmá may appear to him unlearnt, etc. The god grants his request, and adds the gift of immortality. When Brahmá is about to offer a boon to Kumbhakarṇa, the gods interpose, as, they say, he had eaten seven Apsarases and ten followers of Indra, besides rishis and men; and beg that under the guise of a boon stupefaction may be inflicted on him. Brahmá thinks on Sarasvatí, who arrives and, by Brahmá's command, enters into Kumbhakarṇa's mouth that she may speak for him. Under this influence he asks that he may receive the boon of sleeping for many years, which is granted. When however Sarasvatí has left him, and he recovers his own consciousness, he perceives that he has been deluded. Kuvera by his father's advice, gives up the city of Lanká to Rávaṇ.”1031 Rávaṇa marries (Sect. 12) Mandodarí the beautiful daughter of the Asur Maya whose [pg 517] name has several times occurred in the Rámáyan as that of an artist of wonderful skill. She bears a son Meghanáda or the Roaring Cloud who was afterwards named Indrajít from his victory over the sovereign of the skies. The conquest of Kuvera, and the acquisition of the magic self-moving chariot which has done much service in the Rámáyan, form the subject of sections XIII., XIV. and XV. “The rather pretty story of Vedavatí is related in the seventeenth section, as follows: Rávaṇa in the course of his progress through the world, comes to the forest on the Himálaya, where he sees a damsel of brilliant beauty, but in ascetic garb, of whom he straightway becomes enamoured. He tells her that such an austere life is unsuited to her youth and attractions, and asks who she is and why she is leading an ascetic existence. She answers that she is called Vedavatí, and is the vocal daughter of Vṛihaspati's son, the rishi Kuśadhwaja, sprung from him during his constant study of the Veda. The gods, gandharvas, etc., she says, wished that she should choose a husband, but her father would give her to no one else than to Vishṇu, the lord of the world, whom he desired for his son-in-law. Vedavatí then proceeds: ‘In order that I may fulfil this desire of my father in respect of Náráyaṇa, I wed him with my heart. Having entered into this engagement I practise great austerity. Náráyaṇa and no other than he, Purushottama, is my husband. From the desire of obtaining him, I resort to this severe observance.’ Rávaṇa's passion is not in the least diminished by this explanation and he urges that it is the old alone who should seek to become distinguished by accumulating merit through austerity, prays that she who is so young and beautiful shall become his bride; and boasts that he is superior to Vishṇu. She rejoins that no one but he would thus contemn that deity. On receiving this reply he touches the hair of her head with the tip of his finger. She is greatly incensed, and forthwith cuts off her hair and tells him that as he has so insulted her, she cannot continue to live, but will enter into the fire before his eyes. She goes on ‘Since I have been insulted in the forest by thee who art wicked-hearted, I shall be born again for thy destruction. For a man of evil desire cannot be slain by a woman; and the merit of my austerity would be lost if I were to launch a curse against thee. But if I have performed or bestowed or sacrificed aught may I be born the virtuous daughter, not produced from the womb, of a righteous man.’ Having thus spoken she entered the blazing fire. Then a shower of celestial flowers fell (from every part of the sky). It is she, lord, who, having been Vedavatí in the Krita age, has been born (in the Treta age) as the daughter of the king of the Janakas, and (has become) thy [Ráma's] bride; for thou art the eternal Vishṇu. The mountain-like enemy who was [virtually] destroyed before by her wrath, has now been slain by her having recourse to thy superhuman energy.” On this the commentator remarks: “By this it is signified that Sítá was the principal cause of Rávaṇa's death; but the function of destroying him is ascribed to Ráma.” On the words, “thou art Vishṇu,” in the preceding verse the same commentator remarks: “By this it is clearly affirmed that Sítá was Lakshmí.” This is what Paráśara says: “In the god's life as Ráma, she became Sítá, and in his birth as Krishṇa [she became] Rukminí.”1032
In the following section (XVIII.) “Rávaṇa is described as violently interrupting a sacrifice which is being performed by king Marutta, and the assembled [pg 518] gods in terror assume different shapes to escape; Indra becomes a peacock, Yáma a crow, Kuvera a lizard, and Varuṇa a swan; and each deity bestows a boon on the animal he had chosen. The peacock's tail recalls Indra's thousand eyes; the swan's colour becomes white, like the foam of the ocean (Varuṇa being its lord); the lizard obtains a golden colour; and the crow is never to die except when killed by a violent death, and the dead are to enjoy the funeral oblations when they have been devoured by the crows.”1033
Rávaṇ then attacks Arjuna or Kárttavírya the mighty king of Máhishmati on the banks of the Narmadá, and is defeated, captured and imprisoned by Arjuna. At the intercession of Pulastya (Sect. XXII.) he is released from his bonds. He then visits Kishkindhá where he enters into alliance with Báli the King of the Vánars: “We will have all things in common,” says Rávaṇ, “dames, sons, cities and kingdoms, food, vesture, and all delights.” His next exploit is the invasion of the kingdom of departed spirits and his terrific battle with the sovereign Yáma. The poet in his description of these regions with the detested river with waves of blood, the dire lamentations, the cries for a drop of water, the devouring worm, all the tortures of the guilty and the somewhat insipid pleasures of the just, reminds one of the scenes in the under world so vividly described by Homer, Virgil, and Dante. Yáma is defeated (Sect. XXVI.) by the giant, not so much by his superior power as because at the request of Brahmá Yáma refrains from smiting with his deadly weapon the Rákshas enemy to whom that God had once given the promise that preserved him. In the twenty-seventh section Rávaṇ goes “under the earth into Pátála the treasure-house of the waters inhabited by swarms of serpents and Daityas, and well defended by Varuṇ.” He subdues Bhogavatí the city ruled by Vásuki and reduces the Nágas or serpents to subjection. He penetrates even to the imperial seat of Varuṇ. The God himself is absent, but his sons come forth and do battle with the invader. The giant is victorious and departs triumphant. The twenty-eighth section gives the details of a terrific battle between Rávaṇ and Mándhátá King of Ayodhyá, a distinguished ancestor of Ráma. Supernatural weapons are employed on both sides and the issue of the conflict is long doubtful. But at last Mándhátá prepares to use the mighty weapon “acquired by severe austerities through the grace and favour of Rudra.” The giant would inevitably have been slain. But two pre-eminent Munis Pulastya and Gálava beheld the fight through the power given by contemplation, and with words of exhortation they parted King Mándhátá and the sovereign of the Rákshases. Rávaṇ at last (Sect. XXXII.) returns homeward carrying with him in his car Pushpak the virgin daughters of kings, of Rishis, of Daityas, and Gandharvas whom he has seized upon his way. The thirty-sixth section describes a battle with Indra, in which the victorious Meghanáda son of the giant, makes the King of the Gods his prisoner, binds him with his magic art, and carries him away (Sect. XXVII.) in triumph to Lanká. Brahmá intercedes (Sect. XXXVIII.) and Indrajít releases his prisoner on obtaining in return the boon that sacrifice to the Lord of Fire shall always make him invincible in the coming battle. In sections XXXIX., XL, “we have a legend related to Ráma by the sage Agastya to account for the stupendous strength of the monkey Hanumán, as it had been described in the Rámáyaṇa. Rama naturally wonders (as [pg 519] perhaps many readers of the Rámáyaṇa have done since) why a monkey of such marvellous power and prowess had not easily overcome Báli and secured the throne for his friend Sugríva. Agastya replies that Hanumán was at that time under a curse from a Rishi, and consequently was not conscious of his own might.”1034 The whole story of the marvellous Vánar is here given at length, but nothing else of importance is added to the tale already given in the Rámáyaṇa. The Rishis or saints then (Sect. XL.) return to their celestial seats, and the Vánars, Rákshases and bears also (Sect. XLIII.) take their departure. The chariot Pushpak is restored to its original owner Kuvera, as has already been related in the Rámáyaṇ.
The story of Ráma and Sítá is then continued, and we meet with matter of more human interest. The winter is past and the pleasant spring-time is come, and Ráma and Sítá sit together in the shade of the Aśoka trees happy as Indra and Śachí when they drink in Paradise the nectar of the Gods. “Tell me, my beloved,” says Ráma, “for thou wilt soon be a mother, hast thou a wish in thy heart for me to gratify?” And Sítá smiles and answers: “I long, O son of Raghu, to visit the pure and holy hermitages on the banks of the Ganges and to venerate the feet of the saints who there perform their rigid austerities and live on roots and berries. This is my chief desire, to stand within the hermits' grove were it but for a single day.” And Ráma said: “Let not the thought trouble thee: thou shalt go to the grove of the ascetics.” But slanderous tongues have been busy in Ayodhyá, and Sítá has not been spared. Ráma hears that the people are lamenting his blind folly in taking back to his bosom the wife who was so long a captive in the palace of Rávaṇ. Ráma well knows her spotless purity in thought, word, and deed, and her perfect love of him; but he cannot endure the mockery and the shame and resolves to abandon his unsuspecting wife. He orders the sad but still obedient Lakshmaṇ to convey her to the hermitage which she wishes to visit and to leave her there, for he will see her face again no more. They arrive at the hermitage, and Lakshmaṇ tells her all. She falls fainting on the ground, and when she recovers her consciousness sheds some natural tears and bewails her cruel and undeserved lot. But she resolves to live for the sake of Ráma and her unborn son, and she sends by Lakshmaṇ a dignified message to the husband who has forsaken her: “I grieve not for myself,” she says “because I have been abandoned on account of what the people say, and not for any evil that I have done. The husband is the God of the wife, the husband is her lord and guide; and what seems good unto him she should do even at the cost of her life.”
Sítá is honourably received by the saint Válmíki himself, and the holy women of the hermitage are charged to entertain and serve her. In this calm retreat she gives birth to two boys who receive the names of Kuśa and Lava. They are carefully brought up and are taught by Válmíki himself to recite the Rámáyaṇ. The years pass by: and Ráma at length determines to celebrate the Aśvamedha or Sacrifice of the Steed. Válmíki, with his two young pupils, attends the ceremony, and the unknown princes recite before the delighted father the poem which recounts his deeds. Ráma inquires into their history and recognizes them as his sons. Sítá is invited to return and solemnly affirm her innocence before the great assembly.
“But Sítá's heart was too full; this second ordeal was beyond even her power to submit to, and the poet rose above the ordinary Hindu level of women [pg 520] when he ventured to paint her conscious purity as rebelling: ‘Beholding all the spectators, and clothed in red garments, Sítá clasping her hands and bending low her face, spoke thus in a voice choked with tears: “as I, even in mind, have never thought of any other than Ráma, so may Mádhaví the goddess of Earth, grant me a hiding-place.” As Sítá made this oath, lo! a marvel appeared. Suddenly cleaving the earth, a divine throne of marvellous beauty rose up, borne by resplendent dragons on their heads: and seated on it, the goddess of Earth, raising Sítá with her arm, said to her, “Welcome to thee!” and placed her by her side. And as the queen, seated on the throne, slowly descended to Hades, a continuous shower of flowers fell down from heaven on her head.’1035”
“Both the great Hindu epics thus end in disappointment and sorrow. In the Mahábhárata the five victorious brothers abandon the hardly won throne to die one by one in a forlorn pilgrimage to the Himálaya; and in the same way Ráma only regains his wife, after all his toils, to lose her. It is the same in the later Homeric cycle—the heroes of the Iliad perish by ill-fated deaths. And even Ulysses, after his return to Ithaca, sets sail again to Thesprotia, and finally falls by the hand of his own son. But in India and Greece alike this is an afterthought of a self-conscious time, which has been subsequently added to cast a gloom on the strong cheerfulness of the heroic age.”1036
“The termination of Ráma's terrestrial career is thus told in Sections 116 ff. of the Uttarakáṇda. Time, in the form of an ascetic, comes to his palace gate, and asks, as the messenger of the great rishi (Brahmá) to see Ráma. He is admitted and received with honour, but says, when he is asked what he has to communicate, that his message must be delivered in private, and that any one who witnesses the interview is to lose his life. Ráma informs Lakshmaṇ of all this, and desires him to stand outside. Time then tells Ráma that he has been sent by Brahmá, to say that when he (Ráma, i.e. Vishṇu) after destroying the worlds was sleeping on the ocean, he had formed him (Brahmá) from the lotus springing from his navel, and committed to him the work of creation; that he (Brahmá) had then entreated Ráma to assume the function of Preserver, and that the latter had in consequence become Vishṇu, being born as the son of Aditi, and had determined to deliver mankind by destroying Rávaṇa, and to live on earth ten thousand and ten hundred years; that period, adds Time, was now on the eve of expiration, and Ráma could either at his pleasure prolong his stay on earth, or ascend to heaven and rule over the gods. Ráma replies, that he had been born for the good of the three worlds, and would now return to the place whence he had come, as it was his function to fulfil the purposes of the gods. While they are speaking the irritable rishi Durvásas comes, and insists on seeing Ráma immediately, under a threat, if refused, of cursing Ráma and all his family.”
Lakshmaṇ, preferring to save his kinsman, though knowing that his own death must be the consequence of interrupting the interview of Ráma with Time, enters the palace and reports the rishi's message to Ráma. Ráma comes out, and [pg 521] when Durvásas has got the food he wished, and departed, Ráma reflects with great distress on the words of Time, which require that Lakshmaṇ should die. Lakshmaṇ however exhorts Ráma not to grieve, but to abandon him and not break his own promise. The counsellors concurring in this advice, Ráma abandons Lakshmaṇ, who goes to the river Sarayú, suppresses all his senses, and is conveyed bodily by Indra to heaven. The gods are delighted by the arrival of the fourth part of Vishṇu. Ráma then resolves to install Bharata as his successor and retire to the forest and follow Lakshmaṇ. Bharata however refuses the succession, and determines to accompany his brother. Ráma's subjects are filled with grief, and say they also will follow him wherever he goes. Messengers are sent to Śatrughna, the other brother, and he also resolves to accompany Ráma; who at length sets out in procession from his capital with all the ceremonial appropriate to the “great departure,” silent, indifferent to external objects, joyless, with Śrí on his right, the goddess Earth on his left, Energy in front, attended by all his weapons in human shapes, by the Vedas in the forms of Bráhmans, by the Gáyatrí, the Omkára, the Vashaṭkára, by rishis, by his women, female slaves, eunuchs, and servants. Bharata with his family, and Śatrughna, follow together with Bráhmans bearing the sacred fire, and the whole of the people of the country, and even with animals, etc., etc. Ráma, with all these attendants, comes to the banks of the Sarayú. Brahmá, with all the gods and innumerable celestial cars, now appears, and all the sky is refulgent with the divine splendour. Pure and fragrant breezes blow, a shower of flowers falls. Ráma enters the waters of the Sarayú; and Brahmá utters a voice from the sky, saying: “Approach, Vishṇu; Rághava, thou hast happily arrived, with thy godlike brothers. Enter thine own body as Vishṇu or the eternal ether. For thou art the abode of the worlds: no one comprehends thee, the inconceivable and imperishable, except the large-eyed Máyá thy primeval spouse.” Hearing these words, Ráma enters the glory of Vishṇu with his body and his followers. He then asks Brahmá to find an abode for the people who had accompanied him from devotion to his person, and Brahmá appoints them a celestial residence accordingly.1037
“A curious festival is celebrated in honour of this divinity (Lakshmî) on the fifth lunar day of the light half of the month Mâgha (February), when she is identified with Saraswatí the consort of Brahmá, and the goddess of learning. In his treatise on festivals, a great modern authority, Raghunandana, mentions, on the faith of a work called Samvatsara-sandipa, that Lakshmî is to be worshipped in the forenoon of that day with flowers, perfumes, rice, and water; that due honour is to be paid to inkstand and writing-reed, and no writing to be done. Wilson, in his essay on the Religious Festivals of the Hindus (works, vol. ii, p. 188. ff.) adds that on the morning of the 2nd February, the whole of the pens and inkstands, and the books, if not too numerous and bulky, are collected, the pens or reeds cleaned, the inkstands scoured, and the books wrapped up in new cloth, are arranged upon a platform, or a sheet, and strewn over with flowers and blades of young barley, and that no flowers except white are to be offered. After performing the necessary rites, … all the members of the family assemble and make their prostrations; the books, the pens, and ink having an entire holiday; and should any emergency require a written communication on the day dedicated to the divinity of scholarship, it is done with chalk or charcoal upon a black or white board.”
Chambers's Encyclopædia. Lakshmî.
“The Hindu Jove or Jupiter Tonans, chief of the secondary deities. He presides over swarga or paradise, and is more particularly the god of the atmosphere and winds. He is also regent of the east quarter of the sky. As chief of the deities he is called Devapati, Devadeva, Surapati, etc.; as lord of the atmosphere Divaspati; as lord of the eight Vasus or demigods, Fire, etc., Vásava; as breaking cities into fragments, Purandara, Puranda; as lord of a hundred sacrifices (the performance of a hundred Aśvamedhas elevating the sacrificer to the rank of Indra) Śatakratu, Śatamakha; as having a thousand eyes, Sahasráksha; as husband of Śachí, Śachípati. His wife is called Śachí, Indráṇí, Sakráṇí, Maghoni, Indraśakti, Pulomajá, and Paulomí. His son is Jayanta. His pleasure garden or elysium is Nandana; his city, Amarávatí; his palace, Vaijayanta; his horse, Uchchaihśravas, his elephant, Airávata; his charioteer, Mátali.”
Professor M. Williams's English-Sanskrit Dictionary. Indra.
“The second person of the Hindu triad, and the most celebrated and popular of all the Indian deities. He is the personification of the preserving power, and became incarnate in nine different forms, for the preservation of mankind in various emergencies. Before the creation of the universe, and after its temporary annihilation, he is supposed to sleep on the waters, floating on the serpent Śesha, and is then identified with Náráyaṇa. Brahmá, the creator, is fabled to spring at that time from a lotus which grows from his navel, whilst thus asleep.… His ten avatárs or incarnations are:
[pg 523]“1. The Matsya, or fish. In this avatár Vishṇu descended in the form of a fish to save the pious king Satyavrata, who with the seven Rishis and their wives had taken refuge in the ark to escape the deluge which then destroyed the earth. 2, The Kúrma, or Tortoise. In this he descended in the form of a tortoise, for the purpose of restoring to man some of the comforts lost during the flood. To this end he stationed himself at the bottom of the ocean, and allowed the point of the great mountain Mandara to be placed upon his back, which served as a hard axis, whereon the gods and demons, with the serpent Vásuki twisted round the mountain for a rope, churned the waters for the recovery of the amrita or nectar, and fourteen other sacred things. 3. The Varáha, or Boar. In this he descended in the form of a boar to rescue the earth from the power of a demon called ‘golden-eyed,’ Hiraṇyáksha. This demon had seized on the earth and carried it with him into the depths of the ocean. Vishṇu dived into the abyss, and after a contest of a thousand years slew the monster. 4. The Narasinha, or Man-lion. In this monstrous shape of a creature half-man, half-lion, Vishṇu delivered the earth from the tyranny of an insolent demon called Hiraṇyakaśipu. 5. Vámana, or Dwarf. This avatár happened in the second age of the Hindús or Tretáyug, the four preceding are said to have occurred in the first or Satyayug; the object of this avatár was to trick Bali out of the dominion of the three worlds. Assuming the form of a wretched dwarf he appeared before the king and asked, as a boon, as much land as he could pace in three steps. This was granted; and Vishṇu immediately expanding himself till he filled the world, deprived Bali at two steps of heaven and earth, but in consideration of some merit, left Pátála still in his dominion. 6. Paraśuráma. 7. Rámchandra. 8. Krishṇa, or according to some Balaráma. 9. Buddha. In this avatár Vishṇu descended in the form of a sage for the purpose of making some reform in the religion of the Brahmins, and especially to reclaim them from their proneness to animal sacrifice. Many of the Hindús will not allow this to have been an incarnation of their favourite god. 10. Kalki, or White Horse. This is yet to come. Vishṇu mounted on a white horse, with a drawn scimitar, blazing like a comet, will, according to prophecy, end this present age, viz. the fourth or Kaliyug, by destroying the world, and then renovating creation by an age of purity.”
William's Dictionary. Vishṇu.
“A celebrated Hindú God, the Destroyer of creation, and therefore the most formidable of the Hindú Triad. He also personifies reproduction, since the Hindú philosophy excludes the idea of total annihilation without subsequent regeneration. Hence he is sometimes confounded with Brahmá, the creator or first person of the Triad. He is the particular God of the Tántrikas, or followers of the books called Tantras. His worshippers are termed Śaivas, and although not so numerous as the Vaishṇavas, exalt their god to the highest place in the heavens, and combine in him many of the attributes which properly belong to the other deities. According to them Śiva is Time, Justice, Fire, Water, the Sun, the Destroyer and Creator. As presiding over generation, his type is the Linga, or Phallus, the origin probably of the Phallic emblem of Egypt and Greece. As the God of generation and justice, which latter character he shares with the god Yama, he is represented riding a white bull. His own colour, as well as that of the bull, is generally white, referring probably to the unsullied purity of Justice. [pg 524] His throat is dark-blue; his hair of a light reddish colour, and thickly matted together, and gathered above his head like the hair of an ascetic. He is sometimes seen with two hands, sometimes with four, eight, or ten, and with five faces. He has three eyes, one being in the centre of his forehead, pointing up and down. These are said to denote his view of the three divisions of time, past, present, and future. He holds a trident in his hand to denote, as some say, his relationship to water, or according to others, to show that the three great attributes of Creator, Destroyer, and Regenerator are combined in him. His loins are enveloped in a tiger's skin. In his character of Time, he not only presides over its extinction, but also its astronomical regulation. A crescent or half-moon on his forehead indicates the measure of time by the phases of the moon; a serpent forms one of his necklaces to denote the measure of time by years, and a second necklace of human skulls marks the lapse and revolution of ages, and the extinction and succession of the generations of mankind. He is often represented as entirely covered with serpents, which are the emblems of immortality. They are bound in his hair, round his neck, wrists, waist, arms and legs; they serve as rings for his fingers, and earrings for his ears, and are his constant companions. Śiva has more than a thousand names which are detailed at length in the sixty-ninth chapter of the Śiva Puráṇa.”—Williams's Dictionary, Śiva.
“Originally these deities seem to have been personifications of the vapours which are attracted by the sun, and form into mist or clouds: their character may be thus interpreted in the few hymns of the Rigveda where mention is made of them. At a subsequent period when the Gandharva of the Rigveda who personifies there especially the Fire of the Sun, expanded into the Fire of Lightning, the rays of the moon and other attributes of the elementary life of heaven as well as into pious acts referring to it, the Apsarasas become divinities which represent phenomena or objects both of a physical and ethical kind closely associated with that life; thus in the Yajurveda Sunbeams are called the Apsarasas associated with the Gandharva who is the Sun; Plants are termed the Apsarasas connected with the Gandharva Fire: Constellations are the Apsarasas of the Gandharva Moon: Waters the Apsarasas of the Gandharva Wind, etc. etc.… In the last Mythological epoch when the Gandharvas have saved from their elementary nature merely so much as to be musicians in the paradise of Indra, the Apsarasas appear among other subordinate deities which share in the merry life of Indra's heaven, as the wives of the Gandharvas, but more especially as wives of a licentious sort, and they are promised therefore, too, as a reward to heroes fallen in battle when they are received in the paradise of Indra; and while, in the Rigveda, they assist Soma to pour down his floods, they descend in the epic literature on earth merely to shake the virtue of penitent Sages and to deprive them of the power they would otherwise have acquired through unbroken austerities.”—Goldstücker's Sanskrit Dictionary.
“Here is described one of the avatárs, descents or manifestations of Vishṇu in a visible form. The word avatár signifies literally descent. The avatár which is here spoken of, that in which, according to Indian traditions, Vishṇu descended [pg 525] and appeared upon earth in the corporeal form of Ráma, the hero of the Rámáyana, is the seventh in the series of Indian avatárs. Much has been said before now of these avatárs, and through deficient knowledge of the ideas and doctrines of India, they have been compared to the sublime dogma of the Christian Incarnation. This is one of the grossest errors that ignorance of the ideas and beliefs of a people has produced. Between the avatárs of India and the Christian Incarnation there is such an immensity of difference that it is impossible to find any reasonable analogy that can approximate them. The idea of the avatárs is intimately united with that of the Trimúrti; the bond of connection between these two ideas is an essential notion common to both, the notion of Vishṇu. What is the Trimúrti? I have already said that it is composed of three Gods, Brahmá (masculine), Vishṇu the God of avatárs, and Śiva. These three Gods, who when reduced to their primitive and most simple expression are but three cosmogonical personifications, three powers or forces of nature, these Gods, I say, are here found, according to Indian doctrines, entirely external to the true God of India, or Brahma in the neuter gender. Brahma is alone, unchangeable in the midst of creation: all emanates from him, he comprehends all, but he remains extraneous to all: he is Being and the negation of beings. Brahma is never worshipped; the indeterminate Being is never invoked; he is inaccessible to the prayers as the actions of man; humanity, as well as nature, is extraneous to him. External to Brahma rises the Trimúrti, that is to say, Brahmá (masculine) the power which creates, Vishṇu the power which preserves, and Śiva the power which destroys: theogony here commences at the same time with cosmogony. The three divinities of the Trimúrti govern the phenomena of the universe and influence all nature. The real God of India is by himself without power; real efficacious power is attributed only to three divinities who exist externally to him. Brahmá, Vishṇu, and Śiva, possessed of qualities in part contradictory and attributes that are mutually exclusive, have no other accord or harmony than that which results from the power of things itself, and which is found external to their own thoughts. Such is the Indian Trimúrti. What an immense difference between this Triad and the wonderful Trinity of Christianity! Here there is only one God, who created all, provides for all, governs all. He exists in three Persons equal to one another, and intimately united in one only infinite and eternal substance. The Father represents the eternal thought and the power which created, the Son infinite love, the Holy Spirit universal sanctification. This one and triune God completes by omnipotent power the great work of creation which, when it has come forth from His hands, proceeds in obedience to the laws which He has given it, governed with certain order by His infinite providence.
“The immense difference between the Trimúrti of India and the Christian Trinity is found again between the avatárs of Vishṇu and the Incarnation of Christ. The avatár was effected altogether externally to the Being who is in India regarded as the true God. The manifestation of one essentially cosmogonical divinity wrought for the most part only material and cosmogonical prodigies. At one time it takes the form of the gigantic tortoise which sustains Mount Mandar from sinking in the ocean; at another of the fish which raises the lost Veda from the bottom of the sea, and saves mankind from the waters. When these avatárs are not cosmogonical they consist in some protection accorded to [pg 526] men or Gods, a protection which is neither universal nor permanent. The very manner in which the avatár is effected corresponds to its material nature, for instance the mysterious vase and the magic liquor by means of which the avatár here spoken of takes place. What are the forms which Vishṇu takes in his descents? They are the simple forms of life; he becomes a tortoise, a boar, a fish, but he is not obliged to take the form of intelligence and liberty, that is to say, the form of man. In the avatár of Vishṇu is discovered the inpress of pantheistic ideas which have always more or less prevailed in India. Does the avatár produce a permanent and definitive result in the world? By no means. It is renewed at every catastrophe either of nature or man, and its effects are only transitory.… To sum up then, the Indian avatár is effected externally to the true God of India, to Brahma; it has only a cosmogonical or historical mission which is neither lasting nor decisive; it is accomplished by means of strange prodigies and magic transformations; it may assume promiscuously all the forms of life; it may be repeated indefinitely. Now let the whole of this Indian idea taken from primitive tradition be compared with the Incarnation of Christ and it will be seen that there is between the two an irreconcilable difference. According to the doctrines of Christianity the Everlasting Word, Infinite Love, the Son of God, and equal to Him, assumed a human body, and being born as a man accomplished by his divine act the great miracle of the spiritual redemption of man. His coming had for its sole object to bring erring and lost humanity back to Him; this work being accomplished, and the divine union of men with God being re-established, redemption is complete and remains eternal.
“The superficial study of India produced in the last century many erroneous ideas, many imaginary and false parallels between Christianity and the Brahmanical religion. A profounder knowledge of Indian civilization and religion, and philological studies enlarged and guided by more certain principles have dissipated one by one all those errors. The attributes of the Christian God, which by one of those intellectual errors, which Vico attributes to the vanity of the learned, had been transferred to Vishṇu, have by a better inspired philosophy been reclaimed for Christianity, and the result of the two religions, one immovable and powerless, the other diffusing itself with all its inherent force and energy, has shown further that there is a difference, a real opposition, between the two principles.”—Gorresio.
As the story of the banishment of Sítá and the subsequent birth in Válmíki's hermitage of Kuśa and Lava the rhapsodists of the Rámáyan, is intimately connected with the account in the introductory cantos of Válmíki's composition of the poem, I shall, I trust, be pardoned for extracting it from my rough translation of Kálidása's Raghuvaṇśa, parts only of which have been offered to the public.
Raghuvaṇśa Cantos XIV, XV.
“He cleared the earth thrice seven times of the Kshatriya caste, and filled with their blood the five large lakes of Samanta, from which he offered libations to the race of Bhrigu. Offering a solemn sacrifice to the King of the Gods Paraśuráma presented the earth to the ministering priests. Having given the earth to Kaśyapa, the hero of immeasurable prowess retired to the Mahendra mountain, where he still resides; and in this manner was there enmity between him and the race of the Kshatriyas, and thus was the whole earth conquered by Paraśuráma.” The destruction of the Kshatriyas by Paraśuráma had been provoked by the cruelty of the Kshatriyas. Chips from a German Workshop, Vol. II. p. 334.
The scene in which he appears is probably interpolated for the sake of making him declare Ráma to be Vishṇu. “Herr von Schlegel has often remarked to me,” says Lassen, “that without injuring the connexion of the story all the chapters [of the Rámáyan] might be omitted in which Ráma is regarded as an incarnation of Vishṇu. In fact, where the incarnation of Vishṇu as the four sons of Daśaratha is described, the great sacrifice is already ended, and all the priests remunerated at the termination, when the new sacrifice begins at which the Gods appear, then withdraw, and then first propose the incarnation to Vishṇu. [pg 532] If it had been an original circumstance of the story, the Gods would certainly have deliberated on the matter earlier, and the celebration of the sacrifice would have continued without interruption.” Lassen, Indische Alterthumskunde, Vol. I. p. 489.
“The idea of fate was different in India from that which prevailed in Greece. In Greece fate was a mysterious, inexorable power which governed men and human events, and from which it was impossible to escape. In India Fate was rather an inevitable consequence of actions done in births antecedent to one's present state of existence, and was therefore connected with the doctrine of metempsychosis. A misfortune was for the most part a punishment, an expiation of ancient faults not yet entirely cancelled.” Gorresio.
“Though of royal extraction, Viśvámitra conquered for himself and his family the privileges of a Brahman. He became a Brahman, and thus broke through all the rules of caste. The Brahmans cannot deny the fact, because it forms one of the principal subjects of their legendary poems. But they have spared no pains to represent the exertions of Viśvámitra, in his struggle for Brahmanhood, as so superhuman that no one would easily be tempted to follow his example. No mention is made of these monstrous penances in the Veda, where the struggle between Viśvámitra, the leader of the Kuśikas or Bharatas, and the Brahman Vaśishtha, the leader of the white-robed Tritsus, is represented as the struggle of two rivals for the place of Purohita or chief priest and minister at the court of King Sudás, the son of Pijavana.” Chips from a German Workshop, Vol. II. p. 336.
“No house is supposed to be without its tutelary divinity, but the notion attached to this character is now very far from precise. The deity who is the object of hereditary and family worship, the Kuladevatá, is always one of the leading personages of the Hindu mythology, as Śiva, Vishṇu or Durgá, but the Grihadevatá rarely bears any distinct appellation. In Bengal, the domestic god is sometimes the Sálagrám stone, sometimes the tulasi plant, sometimes a basket with a little rice in it, and sometimes a water-jar—to either of which a brief adoration is daily addressed, most usually by the females of the family. Occasionally small images of Lakshmi or Chaṇdi fulfil the office, or should a snake appear, he is venerated as the guardian of the dwelling. In general, however, in former times, the household deities were regarded as the unseen spirits of ill, the ghosts and goblins who hovered about every spot, and claimed some particular sites as their own. Offerings were made to them in the open air, by scattering a little rice with a short formula at the close of all ceremonies to keep them in good humour.
“The household gods correspond better with the genii locorum than with the lares or penates of autiquity.”
H. H. Wilson.
The following is a free version of this very ancient story which occurs more than once in the Mahábhárat:
The Suppliant Dove.
Scenes from the Rámáyan, &c.
The ceremonies that attended the consecration of a king (Abhikshepa lit. Sprinkling over) are fully described in Goldstücker's Dictionary, from which the following extract is made: “The type of the inauguration ceremony as practised at the Epic period may probably be recognized in the history of the inauguration of Ráma, as told in the Rámáyana, and in that of the inauguration of Yudhishṭhira, as told in the Mahábháratha. Neither ceremony is described in these poems [pg 535] with the full detail which is given of the vaidik rite in the Aitareya-Bráhmaṇam; but the allusion that Ráma was inaugurated by Vaśishṭha and the other Bráhmanas in the same manner as Indra by the Vasus … and the observation which is made in some passages that a certain rite of the inauguration was performed ‘according to the sacred rule’ … admit of the conclusion that the ceremony was supposed to have taken place in conformity with the vaidik injunction.… As the inauguration of Ráma was intended and the necessary preparations for it were made when his father Daśaratha was still alive, but as the ceremony itself, through the intrigues of his step-mother Kaikeyí, did not take place then, but fourteen years later, after the death of Daśaratha, an account of the preparatory ceremonies is given in the Ayodhyákáṇḍa (Book II) as well as in the Yuddha-Káṇḍa (Book VI.) of the Rámáyaṇa, but an account of the complete ceremony in the latter book alone. According to the Ayodhyákáṇḍa, on the day preceding the intended inauguration Ráma and his wife Sítá held a fast, and in the night they performed this preliminary rite: Ráma having made his ablutions, approached the idol of Náráyaṇa, took a cup of clarified butter, as the religious law prescribes, made a libation of it into the kindled fire, and drank the remainder while wishing what was agreeable to his heart. Then, with his mind fixed on the divinity he lay, silent and composed, together with Sítá, on a bed of Kuśa-grass, which was spread before the altar of Vishṇu, until the last watch of the night, when he awoke and ordered the palace to be prepared for the solemnity. At day-break reminded of the time by the voices of the bards, he performed the usual morning devotion and praised the divinity. In the meantime the town Ayodhyá had assumed a festive appearance and the inauguration implements had been arranged … golden water-jars, an ornamented throne-seat, a chariot covered with a splendid tiger-skin, water taken from the confluence of the Ganges and Jumna, as well as from other sacred rivers, tanks, wells, lakes, and from all oceans, honey, curd, clarified butter, fried grain, Kuśa-grass, flowers, milk; besides, eight beautiful damsels, and a splendid furious elephant, golden and silver jars, filled with water, covered with Udumbara branches and various lotus flowers, besides a white jewelled chourie, a white splendid parasol, a white bull, a white horse, all manner of musical instruments and bards.… In the preceding chapter … there are mentioned two white chouries instead of one, and all kinds of seeds, perfumes and jewels, a scimitar, a bow, a litter, a golden vase, and a blazing fire, and amongst the living implements of the pageant, instead of the bards, gaudy courtesans, and besides the eight damsels, professors of divinity, Bráhmaṇas, cows and pure kinds of wild beasts and birds, the chiefs of town and country-people and the citizens with their train.”
“Now about the office of a Purohita (house priest). The gods do not eat the food offered by a king, who has no house-priest (Purohita). Thence the king even when (not) intending to bring a sacrifice, should appoint a Bráhman to the office of house-priest.” Haug's Autareya Bráhmanam. Vol. II. p. 528.
The Sáras or Indian Crane is a magnificent bird easily domesticated and speedily constituting himself the watchman of his master's house and garden. Unfortunately he soon becomes a troublesome and even dangerous dependent, attacking strangers with his long bill and powerful wings, and warring especially upon “small infantry” with unrelenting ferocity.
All the wives of the king his father are regarded and spoken of by Ráma as his mothers.
“Mythology regards Vritra as a demon or Asur, the implacable enemy of Indra, but this is not the primitive idea contained in the name of Vritra. In the hymns of the Veda Vritra appears to be the thick dark cloud which Indra the God of the firmament attacks and disperses with his thunderbolt.” Gorresio.
“In that class of Rig-veda hymns which there is reason to look upon as the oldest portion of Vedic poetry, the character of Indra is that of a mighty ruler of the firmament, and his principal feat is that of conquering the demon Vritra, a symbolical personification of the cloud which obstructs the clearness of the sky, and withholds the fructifying rain from the earth. In his battles with Vritra he is therefore described as ‘opening the receptacles of the waters,’ as ‘cleaving the cloud’ with his ‘far-whirling thunderbolt,’ as ‘casting the waters down to earth,’ and ‘restoring the sun to the sky.’ He is in consequence ‘the upholder of heaven, earth, and firmament,’ and the god ‘who has engendered the sun and the dawn.’ ” Chambers's Cyclopædia, Indra.
“Throughout these hymns two images stand out before us with overpowering distinctness. On one side is the bright god of the heaven, as beneficent as he is irresistible: on the other the demon of night and of darkness, as false and treachorous as he is malignant.… The latter (as his name Vritra, from var, to veil, indicates) is pre-eminently the thief who hides away the rain-clouds.… But the myth is yet in too early a state to allow of the definite designations which are brought before us in the conflicts of Zeus with Typhôn and his monstrous progeny, of Apollôn with the Pythôn, of Bellerophôn with Chimaira of Oidipous with the Sphinx, of Hercules with Cacus, of Sigurd with the dragon Fafnir; and thus not only is Vritra known by many names, but he is opposed sometimes by Indra, sometimes by Agni the fire-god, sometimes by Trita, Brihaspati, or other deities; or rather these are all names of one and the same god.” Cox's Mythology of the Aryan Nations. Vol. II. p. 326.
The Moly of Homer, which Dierbach considers to have been the Mandrake, is probably a corruption of the Sanskrit Múla a root.
The Neem tree, especially in the Rains, emits a strong unpleasant smell like that of onions. Its leaves however make an excellent cooling poultice, and the Extract of Neem is an admirable remedy for cutaneous disorders.
The following account of the origin of the Nishádas is taken from Wilson's Vishṇu Puráṇa, Book I. Chap. 15. “Afterwards the Munis beheld a great dust arise, and they said to the people who were nigh: ‘What is this?’ And the people answered and said: ‘Now that the kingdom is without a king, the dishonest men have begun to seize the property of their neighbours. The great dust that you behold, excellent Munis, is raised by troops of clustering robbers, hastening to fall upon their prey.’ The sages, hearing this, consulted, and together rubbed the thigh of the king (Vena), who had left no offspring, to produce a son. From the thigh, thus rubbed, came forth a being of the complexion of a charred stake, with flattened features like a negro, and of dwarfish stature. ‘What am I to do,’ cried he eagerly to the Munis. ‘Sit down (nishída),’ said they. And thence his name was Nisháda. His descendants, the inhabitants of the Vindhyá mountain, great Muni, are still called Nishádas and are characterized by the exterior tokens of depravity.” Professor Wilson adds, in his note on the passage: “The Matsya says that there were born outcast or barbarous races, Mlechchhas, as black as collyrium. The Bhágavata describes an individual of dwarfish stature, with short arms and legs, of a complexion as black as a crow, with projecting chin, broad flat nose, red eyes, and tawny hair, whose descendants were mountaineers and foresters. The Padma (Bhúmi Khaṇḍa) has a similar deccription; adding to the dwarfish stature and black complexion, a wide mouth, large ears, and a protuberant belly. It also particularizes his posterity as Nishádas, Kirátas, Bhillas, and other barbarians and Mlechchhas, living in woods and on mountains. These passages intend, and do not much exaggerate, the uncouth appearance of the Gonds, Koles, Bhils, and other uncivilized tribes, scattered along the forests and mountains of Central India from Behar to Khandesh, and who are, not improbably, the predecessors of the present occupants of the cultivated portions of the country. They are always very black, ill-shapen, and dwarfish, and have countenances of a very African character.”
[pg 538]Manu gives a different origin of the Nishádas as the offspring of a Bráhman father and a Súdra mother. See Muir's Sanskrit Texts, Vol. I. p. 481.
Paradise Lost, Book IX.
The rites performed in India on the completion of a house are represented in modern Europe by the familiar “house-warming.”
One of the regal or military caste was forbidden to kill an elephant except in battle.
“The punishment which the Code of Manu awards to the slayer of a Brahman was to be branded in the forehead with the mark of a headless corpse, and entirely banished from society; this being apparently commutable for a fine. The poem is therefore in accordance with the Code regarding the peculiar guilt of killing Brahmans; but in allowing a hermit who was not a Divija (twice-born) to go to heaven, the poem is far in advance of the Code. The youth in the poem is allowed to read the Veda, and to accumulate merit by his own as well as his father's pious acts; whereas the exclusive Code reserves all such privileges to Divijas invested with the sacred cord.” Mrs. Speir's Life in Ancient India, p. 107.
“Compare this magnificent eulogium of kings and kingly government with what Samuel says of the king and his authority: And Samuel told all the words of the Lord unto the people that asked of him a king.
And he said, This will be the manner of the king that shall reign over you: He will take your sons, and appoint them for himself, for his chariots, and to be his horsemen: and some shall run before his chariots.
[pg 539]And he will appoint him captains over thousands, and captains over fifties, and will set them to work his ground, and to reap his harvest, and to make his instrument of war, and instruments of his chariots.
And he will take your daughters to be confectionaries, and to be cooks, and to be bakers.
And he will take your fields, and your vineyards and your oliveyards, even the best of them, and give them to his servants.
And he will take the tenth of your seed, and of your vineyards, and give to his officers, and to his servants.
And he will take your men-servants, and your maid-servants, and your goodliest young men, and your asses, and put them to his work.
He will take the tenth of your sheep: and ye shall be his servants.
And ye shall cry out in that day because of your king which ye shall have chosen you. I. Samuel, VIII.
In India kingly government was ancient and consecrated by tradition: whence to change it seemed disorderly and revolutionary: in Judæa theocracy was ancient and consecrated by tradition, and therefore the innovation which would substitute a king was represented as full of dangers.” Gorresio.
According to the Bengal recension Śálmalí appears to have been another name of the Vipáśá. Śálmalí may be an epithet signifying rich in Bombax heptaphyllon. The commentator makes another river out of the word.
“Two routes from Ayodhyá to Rájagriha or Girivraja are described. That taken by the envoys appears to have been the shorter one, and we are not told why Bharat returned by a different road. The capital of the Kekayas lay to the west of the Vipáśá. Between it and the Śatadru stretched the country of the Báhíkas. Upon the remaining portion of the road the two recensions differ. According to that of Bengal there follow towards the east the river Indamatí, then the town Ajakála belonging to the Bodhi, then Bhulingá, then the river Śaradaṇḍá. According to the other instead of the first river comes the Ikshumatí … instead of the first town Abhikála, instead of the second Kulingá, then the second river. According to the direction of the route both the above-mentioned rivers must be tributaries of the Śatadrú.… The road then crossed the Yamuná (Jumna), led beyond that river through the country of the Panchálas, and reached the Ganges at Hástinapura, where the ferry was. Thence it led over the Rámagangá and its eastern tributaries, then over the Gomati, and then in a southern direction along the Málini, beyond which it reached Ayodhyá. In Bharat's journey the following rivers are passed from west to east: Kutikoshṭiká, Uttániká, Kuṭiká, Kapívatí, Gomatí according to Schlegel, and Hiraṇyavatí, Uttáriká, Kuṭilá, Kapívatí, Gomatí according to Gorresio. As these rivers are to be looked for on the east of the Ganges, the first must be the modern Koh, a small affluent of the Rámagangá, over which the highway cannot have gone as it bends too far to the north. The Uttániká or Uttáriká must be the Rámagangá, the Kuṭiká or Kuṭilá its eastern tributary, Kośilá, the Kapívatí the next tributary which on the maps has different names, Gurra or above Kailas, [pg 540] lower down Bhaigu. The Gomatí (Goomtee) retains its old name. The Máliní, mentioned only in the envoys' journey, must have been the western tributary of the Sarayú now called Chuká.” Lassen's Indische Alterthumskunde, Vol. II. P. 524.
“Indian belief divided the universe into several worlds (lokáh). The three principal worlds were heaven, earth, and hell. But according to another division there were seven: Bhúrloka or the earth, Bhuvarloka or the space between the earth and the sun, the seat of the Munis, Siddhas, &c., Svarloka or the heaven of Indra between the sun and the polar star, and the seventh Brahmaloka or the world of Brahma. Spirits which reached the last were exempt from being born again.” Gorresio.
This mention of lambent flames emitted by herbs at night may be compared with Lucan's description of a similar phenomenon in the Druidical forest near Marseilles, (Pharsalia, III. 420.).
Seneca, speaking of Argolis, (Thyestes, Act IV), says:—
Thus also the bush at Horeb (Exod. II.) flamed, but was not consumed.
The Indian explanation of the phenomenon is, that the sun before he sets deposits his rays for the night with the deciduous plants. See Journal of R. As. S. Bengal, Vol. II. p. 339.
Schlegel says in his Preface: “Lubrico vestigio insistit V. Cl. Heerenius, prof. Gottingensis, in libro suo de commerciis veterum populorum (Opp. Vol. Hist. XII, pag. 129,) dum putat, ex mentione sectatorum Buddhae secundo libro Rameidos iniecta de tempore, quo totum carmen sit conditum, quicquam legitime concludi posse.… Sunt versus spurii, reiecti a Bengalis in sola commentatorum recensione leguntur. Buddhas quidem mille fere annis ante Christum natun vixit: sed post multa demumsecula, odiointernecivo inter Brachmanos et Buddhae sectatores orto, his denique ex India pulsis, fingi potuit iniquissima criminatio, eos animi immortalitatem poenasque et praemia in vita futura negare. Praeterea metrum, quo concinnati sunt hi versus, de quo metro mox disseram, recentiorem aetatem arguit.… Poenitet me nunc mei consilii, quod non statim ab initio, … eiecerim cuncta disticha diversis a sloco vulgari metris composita. Metra sunt duo: pariter ambo constant quatuor hemistichiis inter se aequalibus, alterum undenarum syllabarum, alterum duodenarum, hunc in modum:
[pg 541]Cuius generis versus in primo et secundo Rameidos libro nusquam nisi ad finem capitum apposita inveniuntur, et huic loco unice sunt accommodata, quasi peroratio, lyricis numeris assurgens, quo magis canorae cadant clausulae: sicut musici in concentibus extremis omnium vocum instrumentorumque ictu fortiore aures percellere amant. Igitur disticha illa non ante divisionem per capita illatam addi potuerunt: hanc autem grammaticis deberi argumento est ipse recensionum dissensus, manifesto inde ortus, quod singuli editores in ea constituenda suo quisque iudicio usi sunt; praeterquam quod non credibile est, poetam artis suae peritum narrationem continuam in membra tam minuta dissecuisse. Porro discolor est dictio: magniloquentia affectatur, sed nimis turgida illa atque effusa, nec sententiarum pondere satis suffulta. Denique nihil fere novi affertur: ampli ficantur prius dicta, rarius aliquid ex capite sequente anticipatur. Si quis appendices hosce legendo transiliat, sentiet slocum ultimum cum primo capitis proximi apte coagmentatum, nec sine vi quadam inde avulsum. Eiusmodi versus exhibet utraque recensio, sed modo haec modo illa plures paucioresve numero, et lectio interdum magnopere variat.”
“The narrative of Ráma's exile in the jungle is one of the most obscure portions of the Rámáyana, inasmuch as it is difficult to discover any trace of the original tradition, or any illustration of actual life and manners, beyond the artificial life of self-mortification and selfdenial said to have been led by the Brahman sages of olden time. At the same time, however, the story throws some light upon the significance of the poem, and upon the character in which the Brahmanical author desired to represent Ráma; and consequently it deserves more serious consideration than the nature of the subject-matter would otherwise seem to imply.
“According to the Rámáyana, the hero Ráma spent more than thirteen years of his exile in wandering amongst the different Brahmanical settlements, which appear to have been scattered over the country between the Ganges and the Godáveri; his wanderings extending from the hill of Chitra-kúṭa in Bundelkund, to the modern town of Nasik on the western side of India, near the source of the Godáveri river, and about seventy-five miles to the north-west of Bombay. The appearance of these Brahmanical hermitages in the country far away to the south of the Raj of Kasala, seems to call for critical inquiry. Each hermitage is said to have belonged to some particular sage, who is famous in Brahmanical tradition. But whether the sages named were really contemporaries of Ráma, or whether they could possibly have flourished at one and the same period, is open to serious question. It is of course impossible to fix with any degree of certainty the relative chronology of the several sages, who are said to have been visited by Ráma; but still it seems tolerably clear that some belonged to an age far anterior to that in which the Rámáyana was composed, and probably to an age anterior to that in which Ráma existed as a real and living personage; whilst, at least, one sage is to be found who could only have existed in the age during which the Rámáyana was produced in its present form. The main proofs of these inferences are as follows. An interval of many centuries seems to have elapsed between the composition of the Rig-Veda and that of the Rámáyana: a conclusion [pg 542] which has long been proved by the evidence of language, and is generally accepted by Sanskrit scholars. But three of the sages, said to have been contemporary with Ráma, namely, Viśvámitra, Atri and Agastya, are frequently mentioned in the hymns of the Rig-Veda; whilst Válmíki, the sage dwelling at Chitra-kúṭa, is said to have been himself the composer of the Rámáyana. Again, the sage Atri, whom Ráma visited immediately after his departure from Chitra-kúṭa, appears in the genealogical list preserved in the Mahá Bhárata, as the progenitor of the Moon, and consequently as the first ancestor of the Lunar race: whilst his grandson Buddha [Budha] is said to have married Ilá, the daughter of Ikhsváku who was himself the remote ancestor of the Solar race of Ayodhyá, from whom Ráma was removed by many generations. These conclusions are not perhaps based upon absolute proof, because they are drawn from untrustworthy authorities; but still the chronological difficulties have been fully apprehended by the Pundits, and an attempt has been made to reconcile all contradictions by representing the sages to have lived thousands of years, and to have often re-appeared upon earth in different ages widely removed from each other. Modern science refuses to accept such explanations; and consequently it is impossible to escape the conclusion that if Válmíki composed the Rámáyana in the form of Sanskrit in which it has been preserved, he could not have flourished in the same age as the sages who are named in the Rig-Veda.” Wheeler's History of India, Vol. II, 229.
Umá or Párvatí, was the daughter of Himálaya and Mená. She is the heroine of Kálidása's Kumára-Sambhava or Birth of the War-God.
“Kumbhakarṇa, the gigantic brother of the titanic Rávaṇ,—named from the size of his ears which could contain a Kumbha or large water-jar—had such an appetite that he used to consume six months' provisions in a single day. Brahmá, to relieve the alarm of the world, which had begun to entertain serious apprehensions of being eaten up, decreed that the giant should sleep six months at a time and wake for only one day during which he might consume his six months' allowance without trespassing unduly on the reproductive capabilities of the ” Scenes front the Rámáyan, p. 153, 2nd Edit.
The following spirited version of this old story is from the pen of Mr. W. Waterfield:
“This is a favorite subject of Hindú sculpture, especially on the temples of Shiva, such as the caves of Elephanta and Ellora. It, no doubt, is an allegory of the contest between the followers of Shiva and the worshippers of the Elements, who observed the old ritual of the Vedas; in which the name of Shiva is never mentioned.
[pg 543]Indian Ballads and other Poems.
“The personification of Urvasî herself is as thin as that of Eôs or Selênê. Her name is often found in the Veda as a mere name for the morning, and in the plural number it is used to denote the dawns which passing over men bring them to old age and death. Urvasî is the bright flush of light overspreading the heaven before the sun rises, and is but another form of the many mythical beings of Greek mythology whose names take us back to the same idea or the same root. As the dawn in the Vedic hymns is called Urûkî, the far-going (Têlephassa, Têlephos), so is she also Uruasî, the wide-existing or wide-spreading; as are Eurôpê, Euryanassa, Euryphassa, and many more of the sisters of Athênê and Aphroditê. As such she is the mother of Vasishtha, the bright being, as Oidipous is the son of Iokastê; and although Vasishtha, like Oidipous, has become a mortal bard or sage, he is still the son of Mitra and Varuṇa, of night and day. Her lover Purûravas is the counterpart of the Hellenic Polydeukês; but the continuance of her union with him depends on the condition that she never sees him unclothed. But the Gandharvas, impatient of her long sojourn among mortal men resolved to bring her back to their bright home; and Purûravas is thus led unwitingly to disregard her warning. A ewe with two lambs was tied to her couch, and the Gandharvas stole one of them; Urvasî said, ‘They take away my darling, as if I lived in a land where there is no hero and no man.’ They stole the second, and she upbraided her husband again. Then Purûravas looked and said, ‘How can that be a land without heroes or men where I am?’ And naked he sprang up; he thought it was too long to put on his dress. Then the Gandharvas sent a flash of lighting, and Urvasî saw her husband naked as by daylight. Then she vanished. ‘I come back,’ she said, and went. ‘Then he bewailed his vanished love in bitter grief.’ Her promise to return was fulfilled, but for a moment only, at the Lotos-lake, and Purûravas in vain beseeches her to tarry longer. ‘What shall I do with thy [pg 545] speech?’ is the answer of Urvasî. ‘I am gone like the first of the dawns. Purûravas, go home again. I am hard to be caught like the winds.’ Her lover is in utter despair; but when he lies down to die, the heart of Urvasî was melted, and she bids him come to her on the last night of the year. On that night only he might be with her; but a son should be born to him. On that day he went up to the golden seats, and there Urvasî told him that the Gandharvas would grant him one wish, and that he must make his choice. ‘Choose thou for me,’ he said: and she answered, ‘Say to them, Let me be one of you.’ ”
Cox's Mythology of the Aryan Nations. Vol. I. p. 397.
“Vánar is one of the most frequently occurring names by which the poem calls the monkeys of Ráma's army. Among the two or three derivations of which the word Vánar is susceptible, one is that which deduces it from vana which signifies a wood, and thus Vánar would mean a forester, an inhabitant of the wood. I have said elsewhere that the monkeys, the Vánars, whom Ráma led to the conquest of Ceylon were fierce woodland tribes who occupied the mountainous regions of the south of India, where their descendants may still be seen. I shall hence forth promiscuously employ the word Vánar to denote those monkeys, those fierce combatants of Ráma's army.” Gorresio.
Somewhat similarly in The Squire's Tale:
“The literal interpretation of this portion of the Rámáyana is indeed deeply rooted in the mind of the Hindu. He implicitly believes that Ráma is Vishnu, who became incarnate for the purpose of destroying the demon Rávana: that he permitted his wife to be captured by Rávana for the sake of delivering the gods and Bráhmans from the oppressions of the Rákshasa; and that he ultimately assembled an army of monkeys, who were the progeny of the gods, and led them against the strong-hold of Rávana at Lanká, and delivered the world from the tyrant Rákshasa, whilst obtaining ample revenge for his own personal wrongs.
[pg 546]One other point seems to demand consideration, namely, the possibility of such an alliance as that which Ráma is said to have concluded with the monkeys. This possibility will of course be denied by modern critics, but still it is interesting to trace out the circumstances which seem to have led to the acceptance of such a wild belief by the dreamy and marvel loving Hindi. The south of India swarms with monkeys of curious intelligence and rare physical powers. Their wonderful instinct for organization, their attachment to particular localities, their occasional journeys in large numbers over mountains and across rivers, their obstinate assertion of supposed rights, and the ridiculous caricature which they exhibit of all that is animal and emotional in man, would naturally create a deep impression.… Indeed the habits of monkeys well deserve to be patiently studied; not as they appear in confinement, when much that is revolting in their nature is developed, but as they appear living in freedom amongst the trees of the forest, or in the streets of crowded cities, or precincts of temples. Such a study would not fail to awaken strange ideas; and although the European would not be prepared to regard monkeys as sacred animals he might be led to speculate as to their origin by the light of data, which are at present unknown to the naturalist whose observations have been derived from the menagerie alone.
Whatever, however, may have been the train of ideas which led the Hindú to regard the monkey as a being half human and half divine, there can be little doubt that in the Rámáyana the monkeys of southern India have been confounded with what may be called the aboriginal people of the country. The origin of this confusion may be easily conjectured. Perchance the aborigines of the country may have been regarded as a superior kind of monkeys; and to this day the features of the Marawars, who are supposed to be the aborigines of the southern part of the Carnatic, are not only different from those of their neighbours, but are of a character calculated to confirm the conjecture. Again, it is probable that the army of aborigines may have been accompanied by outlying bands of monkeys impelled by that magpie-like curiosity and love of plunder which are the peculiar characteristics of the monkey race; and this incident may have given rise to the story that the army was composed of Monkeys.”
Wheeler's History of India. Vol. II. pp. 316 ff.
“As regards the narrative, it certainly seems to refer to some real event amongst the aboriginal tribes: namely, the quarrel between an elder and younger brother for the possession of a Ráj; and the subsequent alliance of Ráma with the younger brother. It is somewhat remarkable that Ráma appears to have formed an alliance with the wrong party, for the right of Báli was evidently superior to that of Sugríva; and it is especially worthy of note that Ráma compassed the death of Báli by an act contrary to all the laws of fair fighting. Again, Ráma seems to have tacitly sanctioned the transfer of Tárá from Báli to Sugríva, which was directly opposed to modern rule, although in conformity with the rude customs of a barbarous age; and it is remarkable that to this day the marriage of both widows and divorced women is practised by the Marawars, or aborigines of the southern Carnatic, contrary to the deeply-rooted prejudice which exists against such unions amongst the Hindús at large.”
Wheeler's History of India, Vol. II. 324.
“The splendid Marutas form the army of Indras, the red-haired monkeys and bears that of Râmas; and the mythical and solar nature of the monkeys and bears of the Râmâyaṇam manifests itself several times. The king of the monkeys is a sun-god. The ancient king was named Bâlin, and was the son of Indras. His younger brother Sugrívas, he who changes his shape at pleasure (Kâmarúpas), who, helped by Râmas, usurped his throne, is said to be own child of the sun. Here it is evident that the Vedic antagonism between Indras and Vishṇus is reproduced in a zoological and entirely apish form. The old Zeus must give way to the new, the moon to the sun, the evening to the morning sun, the sun of winter to that of spring; the young son betrays and overthrows the old one.… Râmas, who treacherously kills the old king of the monkeys, Bâlin, is the equivalent of Vishṇus, who hurls his predecessor Indras from his throne; and Sugrívas, the new king of the monkeys resembles Indras when he promises to find the ravished Sítá, in the same way as Vishṇus in one of his incarnations finds again the lost vedás. And there are other indications in the Râmâyaṇam of opposition between Indras and the monkeys who assist Râmas. The great monkey Hanumant, of the reddish colour of gold, has his jaw broken, Indras having struck him with his thunderbolt and caused him to fall upon a mountain, because, while yet a child, he threw himself off a mountain into the air in order to arrest the course of the sun, whose rays had no effect upon him. (The cloud rises from the mountain and hides the sun, which is unable of itself to disperse it; the tempest comes, and brings flashes of lightning and thunder-bolts, which tear the cloud in pieces.)
The whole legend of the monkey Hanumant represents the sun entering into the cloud or darkness, and coming out of it. His father is said to be now the wind, now the elephant of the monkeys (Kapikunjaras), now Keśarin, the long-haired sun, the sun with a mane, the lion sun (whence his name of Keśariṇah putrah). From this point of view, Hanumant would seem to be the brother of Sugrívas, who is also the offspring of the sun.…
All the epic monkeys of the Râmâyaṇam are described in the twentieth canto of the first book by expressions which very closely resemble those applied in the Vedic hymns to the Marutas, as swift as the tempestuous wind, changing their shape at pleasure, making a noise like clouds, sounding like thunder, battling, hurling mountain-peaks, shaking great uprooted trees, stirring up the deep waters, crushing the earth with their arms, making the clouds fall. Thus Bâlin comes out of the cavern as the sun out of the cloud.…
But the legend of the monkey Hanumant presents another curious resemblance to that of Samson. Hanumant is bound with cords by Indrajit, son of Rávaṇas; he could easily free himself, but does not wish to do so. Rávaṇas to put him to shame, orders his tail to be burned, because the tail is the part most prized by monkeys.…
The tail of Hanumant, which sets fire to the city of the monsters, is probably a personification of the rays of the morning or spring sun, which sets fire to the eastern heavens, and destroys the abode of the nocturnal or winter monsters.”
De Gubernatis, Zoological Mythology, Vol. II. pp. 100 ff.
[pg 548]“The Jaitwas of Rajputana, a tribe politically reckoned as Rajputs, nevertheless trace their descent from the monkey-god Hanuman, and confirm it by alleging that their princes still bear its evidence in a tail-like prolongation of the spine; a tradition which has probably a real ethnological meaning, pointing out the Jaitwas as of non-Aryan race.”1040 Tylor's Primitive Culture, Vol. I. p. 341.
The names of peoples occurring in the following ślokas are omitted in the metrical translation:
“Go to the Brahmamálas,1041 the Videhas,1042 the Málavas,1043 the Káśikośalas,1044 the Mágadnas,1045 the Puṇḍras,1046 and the Angas,1047 and the land of the weavers of silk, and the land of the mines of silver, and the hills that stretch into the sea, and the towns and the hamlets that are about the top of Mandar, and the Karṇaprávaraṇas,1048 and the Oshṭhakarṇakas,1049 and the Ghoralohamukhas,1050 and the [pg 549] swift Ekapádakas,1051 and the strong imperishable Eaters of Men, and the Kirátas1052 with stiff hair-tufts, men like gold and fair to look upon: And the Eaters of Raw Fish, and the Kirátas who dwell in islands, and the fierce Tiger-men1053 who live amid the waters.”
“Go to the Vidarbhas1054 and the Rishṭikas1055 and the Mahishikas,1056 and the Matsyas1057 and Kalingas1058 and the Kauśikas1059 … and the Andhras1060 and the Puṇḍras1061 and the Cholas1062 and the Paṇḍyas1063 and the Keralas,1064 [pg 550] Mlechchhas1065 and the Pulindas1066 and the Śúrasenas,1067 and the Prasthalas and the Bharatas and Madrakas1068 and the Kámbojas1069 and the Yavanas1070 and the towns of the Śakas1071 and the Varadas.”1072
Professor Lassen remarks in the Zeitschrift für die Kunde des Morgenlandes, ii. 62: “At the furthest accessible extremity of the earth appears Harivarsha with the northern Kurus. The region of Hari or Vishṇu belongs to the system of mythical geography; but the case is different with the Uttara Kurus. Here there is a real basis of geographical fact; of which fable has only taken advantage, without creating it. The Uttara Kurus were formerly quite independent of the mythical system of dvípas, though they were included in it at an early date.” Again the same writer says at p. 65: “That the conception of the Uttara Kurus is based upon an actual country and not on mere invention, is proved (1) by the way in which they are mentioned in the Vedas; (2) by the [pg 551] existence of Uttara Kuru in historical times as a real country; and (3) by the way in which the legend makes mention of that region as the home of primitive customs. To begin with the last point the Mahábhárata speaks as follows of the freer mode of life which women led in the early world, Book I. verses 4719-22: ‘Women were formerly unconfined and roved about at their pleasure, independent. Though in their youthful innocence they abandoned their husbands, they were guilty of no offence; for such was the rule in early times. This ancient custom is even now the law for creatures born as brutes, which are free from lust and anger. This custom is supported by authority and is observed by great rishis, and it is still practiced among the northern Kurus.’
“The idea which is here conveyed is that of the continuance in one part of the world of that original blessedness which prevailed in the golden age. To afford a conception of the happy condition of the southern Kurus it is said in another place (M.-Bh, i. 4346.) ‘The southern Kurus vied in happiness with the northern Kurus and with the divine rishis and bards.’
Professor Lassen goes on to say: ‘Ptolemy (vi. 16.) is also acquainted with Uttara Kuru. He speaks of a mountain, a people, and a city called Ottorakorra. Most of the other ancient authors who elsewhere mention this name, have it from him. It is a part of the country which he calls Serica; according to him the city lies twelve degrees west from the metropolis of Sera, and the mountain extends from thence far to the eastward. As Ptolemy has misplaced the whole of eastern Asia beyond the Ganges, the relative position which he assigns will guide us better that the absolute one, which removes Ottorakorra so far to the east that a correction is inevitable. According to my opinion the Ottorakorra of Ptolemy must be sought for to the east of Kashgar.’ Lassen also thinks that Magasthenes had the Uttara Kurus in view when he referred to the Hyperboreans who were fabled by Indian writers to live a thousand years. In his Indian antiquities, (Ind. Alterthumskunde, i. 511, 512. and note,) the same writer concludes that though the passages above cited relative to the Uttara Kurus indicate a belief in the existence of a really existing country of that name in the far north, yet that the descriptions there given are to be taken as pictures of an ideal paradise, and not as founded on any recollections of the northern origin of the Kurus. It is probable, he thinks, that some such reminiscences originally existed, and still survived in the Vedic era, though there is no trace of their existence in latter times.” Muir's Sanskrit Texts, Vol. II. pp. 336, 337.
The corresponding passage in the Bengal recension has “these silvans in the forms of monkeys, vánaráh kapirupinah.” “Here it manifestly appears,” says Gorresio, “that these hosts of combatants whom Ráma led to the conquest of Lanká (Ceylon) the kingdom and seat of the Hamitic race, and whom the poem calls monkeys, were in fact as I have elsewhere observed, inhabitants of the mountainous and southern regions of India, who were wild-looking and not altogether unlike monkeys. They were perhaps the remote ancestors of the Malay races.”
All these exploits of Rávaṇ are detailed in the Uttarakáṇḍa, and epitomized in the Appendix.
The Bráhman householder ought to maintain three sacred fires, the Gárhapatya, the Ahavaniya and the Dakshiṇa. These three fires were made use of in many Brahmanical solemnities, for example in funeral rites when the three fires were arranged in prescribed order.
“I have not noticed in the Úttara Káṇda any story about the daughter of Varuṇa, but the commentator on the text (VI 60, 11) explains the allusion to her thus:
“The daughter of Varuṇa was Punjikasthalí. On her account, a curse of Brahmá, involving the penalty of death, [was pronounced] on the rape of women.” Muir, Sanskrit Texts, Part IV. Appendix.
“Here are indicated those admirable rites and those funeral prayers which Professor Müller has described in his excellent work, Die Todtenbestattung bei den Brahmanen, Sítá laments that the body of Ráma will not be honoured with those rites and prayers, nor will the Bráhman priest while laying the ashes from the pile in the bosom of the earth, pronounce over them those solemn and magnificent words: ‘Go unto the earth, thy mother, the ample, wide, and blessed earth.… And do thou, O Earth, open and receive him as a friend with sweet greeting: enfold him in thy bosom as a mother wraps her child in her robes.’ ” Gorresio.
We read in Josephus that Caesar was so well versed in chiromancy that when one day a soi-disant son of Herod had audience of him, he at once detected the impostor because his hand was destitute of all marks of royalty.
“Here the commentator explains: ‘the battle resembled the dance of the Gandharvas,’ in accordance with the notion of the Gandharvas entertained in his day. They were regarded as celestial musicians enlivening with their melodies [pg 553] Indra's heaven and the banquets of the Gods. But the Gandharvas before becoming celestial musicians in popular tradition, were in the primitive and true signification of the name heroes, spirited and ardent warriors, followers of Indra, and combined the heroical character with their atmospherical deity. Under this aspect the dance of the Gandharvas may be a very different thing from what the commentator means, and may signify the horrid dance of war.” Gorresio.
The Homeric expression is similar, “to dance a war-dance before Ares.”
“The story of Anaraṇya is told in the Uttara Kaṇḍa of the Rámáyaṇa.… Anaraṇya a descendant of Ixváku and King of Ayodhyá, when called upon to fight with Rávaṇa or acknowledge himself conquered, prefers the former alternative; but his army is overcome, and he himself is thrown from his chariot.
When Rávaṇa triumphs over his prostrate foe, the latter says that he has been vanquished not by him but by fate, and that Rávaṇa is only the instrument of his overthrow; and he predicts that Rávaṇa shall one day be slain by his descendant Ráma.” Sanskrit Texts, IV., Appendix.
“With regard to the magic image of Sítá made by Indrajit, we may observe that this thoroughly oriental idea is also found in Greece in Homer's Iliad, where Apollo forms an image of Æneas to save that hero beloved by the Gods: it occurs too in the Æneid of Virgil where Juno forms a fictitious Æneas to save Turnus:
(Æneidos, lib. X.)” Gorresio.
“Analogous to this passage of the Rámáyana, where Indra sends to Ráma his own chariot, his own charioteer, and his own arms, is the passage in the Æneid where Venus descending from heaven brings celestial arms to her son Æneas when he is about to enter the battle:
(Æneidos, lib. VIII)” Gorresio.
“The Muni or saint Agastya, author of several Vedic hymns, was celebrated in Indo-Sanskrit tradition for having directed the first brahmanical settlements in the southern regions of India; and the Mahábhárata gives him the credit of having subjected those countries, expelled the Rákshases. and given security to the solitary ascetics, who were settled there. Hence Agastya was regarded in ancient legend as the conqueror and ruler of the southern country. This tradition refers to the earliest migrations made by the Sanskrit Indians towards the south of India. To Agastya are attributed many marvellous mythic deeds which adumbrate and veil ancient events; some of which are alluded to here and there in the Rámáyana.” Gorresio.
The following is the literal translation of the Canto, text and commentary, from the Calcutta edition:
Having found Ráma weary with fighting and buried in deep thought, and Rávaṇ standing before him ready to engage in battle, the holy Agastya, who had come to see the battle, approached Ráma and spoke to him thus: “O mighty Ráma, listen to the old mystery by which thou wilt conquer all thy foes in the battle. Having daily repeated the Ádityahridaya (the delighter of the mind of the Sun) the holy prayer which destroys all enemies (of him who repeats it) gives victory, removes all sins, sorrows and distress, increases life, and which is the blessing of all blessings, worship the rising and splendid sun who is respected by both the Gods and demons, who gives light to all bodies and who is the rich lord of all the worlds, (To the question why this prayer claims so great reverence; the sage answers) Since yonder1073 sun is full of glory and all gods reside in him (he being their material cause) and bestows being and the active principle on all creatures by his rays; and since he protects all deities, demons and men with his rays.
He is Brahmá,1074 Vishṇu,1075 Śiva,1076 Skanda,1077 Prajápati,1078 Mahendra,1079 Dhanada,1080 Kála,1081 Yáma,1082 Soma,1083 Apàm Pati i.e. The lord of waters, Pitris,1084 Vasus,1085 [pg 555] Sádhyas,1086 Aśvins,1087 Maruts,1088 Manu,1089 Váyu,1090 Vahni,1091 Prajá,1092 Práṇa,1093 Ritukartá,1094 Prabhákara,1095 (Thou,1096 art) Aditya,1097 Savitá,1098 Súrya,1099 Khaga,1100 Púshan,1101 Gabhastimán,1102 Śuvarṇasadriśa,1103 Bhánu,1104 Hiraṇyaretas,1105 Divákara,1106 Haridaśva,1107 Sahasrárchish,1108 Saptasapti,1109 Marichimán,1110 Timironmathana,1111 Sambhu,1112 Twashtá,1113 Mártanda,1114 Anśumán,1115 Hiranyagarbha,1116 Siśira,1117 Tapana,1118 Ahaskara,1119 Ravi,1120 Agnigarbha,1121 Aditiputra,1122 Sankha,1123 Siśiranáśana,1124 Vyomanátha,1125 Tamobhedí,1126 Rigyajussámapáraga,1127 Ghanavríshti,1128 [pg 556] Apám-Mitra,1129 Vindhyavíthíplavangama,1130 Átapí,1131 Mandalí,1132 Mrityu (death), Pingala,1133 Sarvatápana,1134 Kavi,1135 Viśva,1136 Mahátejas,1137 Rakta,1138 Sarvabhavodbhava.1139 The Lord of stars, planets, and other luminous bodies, Viśvabhávana,1140 Tejasvinám-Tejasvi,1141 Dwádaśátman:1142 I salute thee. I salute thee who art the eastern mountain. I salute thee who art the western mountain. I salute thee who art the Lord of all the luminous bodies. I salute thee who art the Lord of days.
I respectfully salute thee who art Jaya,1143 Jayabhadra,1144 Haryaśa,1145 O Thou who hast a thousand rays, I repeatedly salute thee. I repeatedly and respectfully salute thee who art Áditya, I repeatedly salute thee who art Ugra,1146 Víra,1147 and Sáranga.1148 I salute thee who openest the lotuses (or the lotus of the heart). I salute thee who art furious. I salute thee who art the Lord of Brahmá, Śiva and Vishṇu. I salute thee who art the sun, Ádityavarchas,1149 splendid, Sarvabhaksha,1150and Raudravapush.1151
I salute thee who destroyest darkness, cold and enemies: whose form is boundless, who art the destroyer of the ungrateful; who art Deva;1152 who art the Lord of the luminous bodies, and who appearest like the heated gold. I salute thee who art Hari,1153 Viśvakarman,1154 the destroyer of darkness, and who art splendid and Lokasákshin.1155 Yonder sun destroys the whole of the material world and also creates it. Yonder sun dries (all earthly things), destroys them and causes rain with his rays. He wakes when our senses are asleep; and resides within all beings. Yonder sun is Agnihotra1156 and also the fruit obtained by the [pg 557] performer of Agnihotra. He is identified with the gods, sacrifices, and the fruit of the sacrifices. He is the Lord of all the duties known to the world, if any man, O Rághava, in calamities, miseries, forests and dangers, prays to yonder sun, he is never overwhelmed by distress.
Worship, with close attention Him the God of gods and the Lord of the world; and recite these verses thrice, whereby thou wilt be victorious in the battle. O brave one, thou wilt kill Rávaṇa this very instant.”
Thereupon Agastya having said this went away as he came. The glorious Ráma having heard this became free from sorrow. Rághava whose senses were under control, being pleased, committed the hymn to memory, recited it facing the sun, and obtained great delight. The brave Ráma having sipped water thrice and become pure took his bow, and seeing Rávaṇa, was delighted, and meditated on the sun.
“In the funeral ceremonies of India the fire was placed on three sides of the pyre; the Dakshiṇa on the south, the Gárhapatya on the west, and the Áhavaníya on the east. The funeral rites are not described in detail here, and it is therefore difficult to elucidate and explain them. The poem assigns the funeral ceremonies of Aryan Brahmans to the Rákshases, a race different from them in origin and religion, in the same way as Homer sometimes introduces into Troy the rites of the Grecian cult.” Gorresio.
Mr. Muir translates the description of the funeral from the Calcutta edition, as follows: “They formed, with Vedic rites, a funeral pile of faggots of sandal-wood, with padmaka wood, uśira grass, and sandal, and covered with a quilt of deer's hair. They then performed an unrivalled obsequial ceremony for the Ráxasa prince, placing the sacrificial ground to the S.E. and the fire in the proper situation. They cast the ladle filled with curds and ghee on the shoulder1157 of the deceased; he (?) placed the car on the feet, and the mortar between the thighs. Having deposited all the wooden vessels, the [upper] and lower fire-wood, and the other pestle, in their proper places, they departed. The Ráxasas having then slain a victim to their prince in the manner prescribed in the Śástras, and enjoined by great rishis, cast [into the fire] the coverlet of the king saturated with ghee. They then, Vibhíshaṇa included, with afflicted hearts, adorned Rávaṇa with perfumes and garlands, and with various vestments, and besprinkled him with fried grain. Vibhíshaṇa having bathed, and having, with his clothes wet, scattered in proper form tila seeds mixed with darbha grass, and moistened with water, applied the fire [to the pile].”
The following is a literal translation of Brahmá's address to Ráma according to the Calcutta edition, text and commentary:
“O Ráma, how dost thou, being the creator of all the world, best of all those who have profound knowledge of the Upanishads and all-powerful as thou art, suffer Sítá to fall in the fire? How dost thou not know thyself as the best of the gods? Thou art one of the primeval Vasus,1158 and also their lord and creator. Thou art thyself the lord and first creator of the three worlds. Thou art the eighth (that is Mahádeva) of the Rudras,1159 and also the fifth1160 of the Sádhyas.1161 (The poet describes Ráma as made of the following gods) The Aśvinikumáras (the twin divine physicians of the gods) are thy ears; the sun and the moon are thy eyes; and thou hast been seen in the beginning and at the end of creation. How dost thou neglect the daughter of Videha (Janaka} like a man whose actions are directed by the dictates of nature?” Thus addressed by Indra, Brahmá and [pg 559] the other gods, Ráma the descendant of Raghu, lord of the world and the best of the virtuous, spoke to the chief of the gods. “As I take myself to be a man of the name of Ráma and son of Daśaratha, therefore, sir, please tell me who I am and whence have I come.” “O thou whose might is never failing,” said Brahmá to Kákutstha the foremost of those who thoroughly know Brahmá, “Thou art Náráyaṇa,1162 almighty, possessed of fortune, and armed with the discus. Thou art the boar1163 with one tusk; the conqueror of thy past and future foes. Thou art Brahmá true and eternal or undecaying. Thou art Viśvaksena,1164 having four arms; Thou art Hrishíkeśa,1165 whose bow is made of horn; Thou art Purusha,1166 the best of all beings; Thou art one who is never defeated by any body; Thou art the holder of the sword (named Nandaka). Thou art Vishṇu (the pervader of all); blue in colour: of great might; the commander of armies; and lord of villages. Thou art truth. Thou art embodied intelligence, forgiveness, control over the senses, creation, and destruction. Thou art Upendra1167 and Madhusúdana.1168 Thou art the creator of Indra, the ruler over all the world, Padmanábha,1169 and destroyer of enemies in the battle. The divine Rishis call thee shelter of refugees, as well as the giver of shelter. Thou hast a thousand horns,1170 a hundred heads.1171 Thou art respected of the respected; and the lord and first creator of the three worlds. Thou art the forefather and shelter of Siddhas,1172 and Sádhyas.1173 Thou art sacrifices; Vashaṭkára,1174 Omkára.1175 Thou art beyond those who are beyond our senses. There is none who knows who thou art and who knows thy beginning and end. Thou art seen in all material objects, in Bráhmans, in cows, and also in all the quarters, sky and streams. Thou hast a thousand feet, a hundred heads, and a thousand eyes. Thou hast borne the material objects and the earth with the mountains; and at the bottom of the ocean thou art seen the great serpent. O Ráma, Thou hast borne the three worlds, gods, Gandharvas,1176 and demons. I am, O Ráma, thy heart; the goddess of learning is thy tongue; the gods are the hairs of thy body; the closing of thy eyelids is called the night: and their opening is called the day. The Vedas are thy Sanskáras.1177 Nothing can exist without thee. The whole world is thy body; the surface of the earth is thy stability.”
[pg 560]O Śrívatsalakshaṇa, fire is thy anger, and the moon is thy favour. In the time of thy incarnation named Vámana, thou didst pervade the three worlds with thy three steps; and Mahendra was made the king of paradise by thee having confined the fearful Bali.1178 Sítá (thy wife) is Lakshmí; and thou art the God Vishṇu,1179 Krishṇa,1180 and Prajápati. To kill Rávaṇ thou hast assumed the form of a man; therefore, O best of the virtuous, thou hast completed this task imposed by us (gods). O Ráma, Rávaṇa has been killed by thee: now being joyful (i.e. having for some time reigned in the kingdom of Ayodhyá,) go to paradise. O glorious Ráma, thy power and thy valour are never failing. The visit to thee and the prayers made to thee are never fruitless. Thy devotees will never be unsuccessful. Thy devotees who obtain thee (thy favour) who art first and best of mankind, shall obtain their desires in this world as well as in the next. They who recite this prayer, founded on the Vedas (or first uttered by the sages), and the old and divine account of (Ráma) shall never suffer defeat.”
The Bharat-Miláp or meeting with Bharat, is the closing scene of the dramatic representation of Ráma's great victory and triumphant return which takes place annually in October in many of the cities of Northern India. The Rám-Lalá or Play of Ráma, as the great drama is called, is performed in the open air and lasts with one day's break through fifteen successive days. At Benares there are three nearly simultaneous performances, one provided by H. H. the Maharajah of Benares near his palace at Ramnaggur, one by H. H. the Maharajah of Vizianagram near the Missionary settlement at Sigra and at other places in the city, and one by the leading gentry of the city at Chowká Ghát near the College. The scene especially on the great day when the brothers meet is most interesting: the procession of elephants with their gorgeous howdahs of silver and gold and their magnificently dressed riders with priceless jewels sparkling in their turbans, the enthusiasm of the thousands of spectators who fill the streets and squares, the balconies and the housetops, the flowers that are rained down upon the advancing car, the wild music, the shouting and the joy, make an impression that is not easily forgotten.
Ráma's shoes are here regarded as the emblems of royalty or possession. We may compare the Hebrew “Over Edom will I cast forth my shoe.” A curiously similar passage occurs in Lyschander's Chronicon Greenlandiæ Rhythmicon:
I end these notes with an extract which I translate from Signor Gorresio's Preface to the tenth volume of his Rámáyan, and I take this opportunity of again thankfully acknowledging my great obligations to this eminent Śanskritist from whom I have so frequently borrowed. As Mr. Muir has observed, the Bengal recension which Signor Gorresio has most ably edited is throughout an admirable commentary on the genuine Rámáyan of northern India, and I have made constant reference to the faithful and elegant translation which accompanies the text for assistance and confirmation in difficulties:
“Towards the southern extremity and in the island of Lanká (Ceylon) there existed undoubtedly a black and ferocious race, averse to the Aryans and hostile to their mode of worship: their ramifications extended through the islands of the Archipelago, and some traces of them remain in Java to this day.
The Sanskrit-Indians, applying to this race a name expressive of hatred which occurs in the Vedas as the name of hostile, savage and detested beings, called it the Rákshas race: it is against these Rákshases that the expedition of Ráma which the Rámáyan celebrates is directed. The Sanskrit-Indians certainly altered in their traditions the real character of this race: they attributed to it physical and moral qualities not found in human nature; they transformed it into a race of giants; they represented it as monstrous, hideous, truculent, changing forms at will, blood-thirsty and ravenous, just as the Semites represented the races that opposed them as impious, horrible and of monstrous size. But notwithstanding these mythical exaggerations, which are partly due to the genius of the Aryans so prone to magnify everything without measure, the Rámáyan in the course of its epic narration has still preserved and noted here and there some traits and peculiarities of the race which reveal its true character. It represents the Rákshases as black of hue, and compares them with black clouds and masses of black collyrium; it attributes to them curly woolly hair and thick lips, it depicts them as loaded with chains, collars and girdles of gold, and the other bright ornaments which their race has always loved, and in which the kindred races of the Soudan still delight. It describes them as worshippers of matter and force. They are hostile to the religion of the Aryans whose rites and sacrifices they disturb and ruin … Such is the Rákshas race as represented in the Rámáyan; and the war of the Aryan Ráma forms the subject of the epic, a subject certainly real and historical as far as regards its substance, but greatly exaggerated by the ancient myth. In Sanskrit-Indian tradition are found traces of another struggle of the Aryans with the Rákshas races, which preceded the war of Ráma. According to some pauranic legends, Kárttavírya, a descendant of the royal tribe of the Yádavas, contemporary with Parasurama and a little anterior to Ráma, attacked Lanká and took Rávaṇ prisoner. This well shows how ancient and how deeply rooted in the Aryan race is the thought of this war which the Rámáyan celebrates.
[pg 562]“But,” says an eminent Indianist1181 whose learning I highly appreciate, “the Rámáyan is an allegorical epic, and no precise and historical value can be assigned to it. Sítá signifies the furrow made by the plough, and under this symbolical aspect has already appeared honoured with worship in the hymns of the Rig-veda; Ráma is the bearer of the plough (this assertion is entirely gratuitous); these two allegorical personages represented agriculture introduced to the southern regions of India by the race of the Kosalas from whom Ráma was descended; the Rákshases on whom he makes war are races of demons and giants who have little or nothing human about them; allegory therefore predominates in the poem, and the exact reality of an historical event must not be looked for in it.” Such is Professor Weber's opinion. If he means to say that mythical fictions are mingled with real events,
as Dante says, and I fully concede the point. The interweaving of the myth with the historical truth belongs to the essence, so to speak, of the primitive epopeia. If Sítá is born, as the Rámáyan feigns, from the furrow which King Janak opened when he ploughed the earth, not a whit more real is the origin of Helen and Æneas as related in Homer and Virgil, and if the characters in the Rámáyan exceed human nature, and in a greater degree perhaps than is the case in analogous epics, this springs in part from the nature of the subject and still more from the symbol-loving genius of the orient. Still the characters of the Rámáyan, although they exceed more or less the limits of human nature, act notwithstanding in the course of the poem, speak, feel, rejoice and grieve according to the natural impulse of human passions. But if by saying that the Rámáyan is an allegorical epic, it is meant that its fundamental subject is nothing but allegory, that the war of the Aryan Ráma against the Rákshas race is an allegory, that the conquest of the southern region and of the island of Lanká is an allegory, I do not hesitate to answer that such a presumption cannot be admitted and that the thing is in my opinion impossible. Father Paolíno da S. Bartolommeo,1182 had already, together with other strange opinions of his own on Indian matters, brought forward a similar idea, that is to say that the exploit of Ráma which is the subject of the Rámáyan was a symbol and represented the course of the sun: thus he imagined that Brahmá was the earth, Vishṇu the water, and that his avatárs were the blessings brought by the fertilizing waters, etc. But such ideas, born at a time when Indo-sanskrit antiquities were enveloped in darkness, have been dissipated by the light of new studies. How could an epic so dear in India to the memory of the people, so deeply rooted for many centuries in the minds of all, so propagated and diffused through all the dialects and languages of those regions, which had become the source of many dramas which are still represented in India, which is itself represented every year with such magnificence and to such crowds of people in the neighbourhood of Ayodhyá, a poem welcomed at its very birth with such favour, as the legend relates, that the recitation of it by the first wandering Rhapsodists has consecrated and made famous all the places celebrated [pg 563] by them, and where Ráma made a shorter or longer stay, how, I ask, could such an epic have been purely allegorical? How, upon a pure invention, upon a simple allegory, could a poem have been composed of about fifty thousand verses, relating with such force and power the events, and giving details with such exactness? On a theme purely allegorical there may easily be composed a short mythical poem, as for example a poem on Proserpine or Psyche: but never an epic so full of traditions and historical memories, so intimately connected with the life of the people, as the Rámáyan.1183 Excessive readiness to find allegory whenever some traces of symbolism occur, where the myth partly veils the historical reality, may lead and often has led to error. What poetical work of mythical times could stand this mode of trial? could there not be made, or rather has there not been made a work altogether allegorical, out of the Homeric poems? We have all heard of the ingenious idea of the anonymous writer, who in order to prove how easily we may pass beyond the truth in our wish to seek and find allegory everywhere, undertook with keen subtlety to prove that the great personality of Napoleon I. was altogether allegorical and represented the sun. Napoleon was born in an island, his course was from west to east, his twelve marshals were the twelve signs of the zodiac, etc.
I conclude then, that the fundamental theme of the Rámáyan, that is to say the war of the Aryan Ráma against the Rákshases, an Hamitic race settled in the south, ought to be regarded as real and historical as far as regards its substance, although the mythic element intermingled with the true sometimes alters its natural and genuine aspect.
How then did the Indo-Sanskrit epopeia form and complete itself? What elements did it interweave in its progress? How did it embody, how did it clothe the naked and simple primitive datum? We must first of all remember that the Indo-European races possessed the epic genius in the highest degree, and that they alone in the different regions they occupied produced epic poetry … But other causes and particular influences combined to nourish and develop the epic germ of the Sanskrit-Indians. Already in the Rig-veda are found hymns in which the Aryan genius preluded, so to speak, to the future epopeia, in songs that celebrated the heroic deeds of Indra, the combats and the victories of the tutelary Gods of the Aryan races over enemies secret or open, human or superhuman, the exploits and the memories of ancient heroes. More recently, at certain solemn occasions, as the very learned A. Weber remarks, at the solemnity, for example of the Aśvamedha or sacrifice of the horse, the praises of the king who ordained the great rite were sung by bards and minstrels in songs composed for the purpose, the memories of past times were recalled and honourable mention was made of the just and pious kings of old. In the Bráhmaṇas, a sort of prose commentaries annexed to the Vedas, are found recorded stories and legends which allude to historical events of the past ages, to ancient memories, and to mythical events. Such popular legends which the Bráhmaṇas undoubtedly gathered from tradition admirably suited the epic tissue with which they were interwoven by successive hands.… Many and various mythico-historical traditions, suitable for epic development, were diffused among the Aryan races, those for example which are related [pg 564] in the four chapters containing the description of the earth, the Descent of the Ganges, etc. The epic genius however sometimes created beings of its own and gave body and life to ideal conceptions. Some of the persons in the Rámáyan must be, in my opinion, either personifications of the forces of nature like those which are described with such vigour in the Sháhnámah, or if not exactly created, exaggerated beyond human proportions; others, vedic personages much more ancient than Ráma, were introduced into the epic and woven into its narrations, to bring together men who lived in different and distant ages, as has been the case in times nearer to our own, in the epics, I mean, of the middle ages.
In the introduction I have discussed the antiquity of the Rámáyan; and by means of those critical and inductive proofs which are all that an antiquity without precise historical dates can furnish I have endeavoured to establish with all the certainty that the subject admitted, that the original composition of the Rámáyan is to be assigned to about the twelfth century before the Christian era. Not that I believe that the epic then sprang to life in the form in which we now possess it; I think, and I have elsewhere expressed the opinion, that the poem during the course of its rhapsodical and oral propagation appropriated by way of episodes, traditions, legends and ancient myths.… But as far as regards the epic poem properly so called which celebrates the expedition of Ráma against the Rákshases I think that I have sufficiently shown that its origin and first appearance should be placed about the twelfth century B.C.; nor have I hitherto met with anything to oppose this chronological result, or to oblige me to rectify or reject it.… But an eminent philologist already quoted, deeply versed in these studies, A. Weber, has expressed in some of his writings a totally different opinion; and the authority of his name, if not the number and cogency of his arguments, compels me to say something on the subject. From the fact or rather the assumption that Megasthenes1184 who lived some time in India has made no mention either of the Mahábhárat or the Rámáyan Professor Weber argues that neither of these poems could have existed at that time; as regards the Rámáyan, the unity of its composition, the chain that binds together its different parts, and its allegorical character, show it, says Professor Weber, to be much more recent than the age to which I have assigned it, near to our own era, and according to him, later than the Mahábhárat. As for Megasthenes it should be observed, that he did not write a history of India, much less a literary history or anything at all resembling one, but a simple description, in great part physical, of India: whence, from his silence on literary matters to draw inferences regarding the history of Sanskrit literature would be the same thing as from the silence of a geologist with respect to the literature of a country whose valleys, mountains, and internal structure he is exploring, to conjecture that such and such a poem or history not mentioned by him did not exist at his time. We have only to look at the fragments of Megasthenes collected and published by Schwanbeck to see what was the nature and scope of his Indica.… But only a few fragments of Megasthenes are extant; and to pretend that they should be argument and proof enough to judge the antiquity of a poem is to press the laws of criticism too far. To Professor Weber's argument as to the more or [pg 565] less recent age of the Rámáyan from the unity of its composition, I will make one sole reply, which is that if unity of composition were really a proof of a more recent age, it would be necessary to reduce by a thousand years at least the age of Homer and bring him down to the age of Augustus and Virgil; for certainly there is much more unity of composition, a greater accord and harmony of parts in the Iliad and the Odyssey than in the Rámáyan. But in the fine arts perfection is no proof of a recent age: while the experience and the continuous labour of successive ages are necessary to extend and perfect the physical or natural sciences, art which is spontaneous in its nature can produce and has produced in remote times works of such perfection as later ages have not been able to equal.”
Abhijit, 24.
Abhikála, 176.
Abhíra, 444.
Abravanti, 374.
Aditi, 31, 57, 58, 125, 201, 245, 246.
Agastya, 5, 9, 40, 132, 151, 239, 240, 242, 244, 262, 265, 280, 375, 480, 491, 500.
Ágneya, 178.
Agni, 28, 74, 109, 132, 240, 243, 276.
Ailadhána, 178.
Airávat, 14, 110, 178, 246, 256, 267, 335, 399, 402, 415, 429, 437, 472.
Akurvati, 178.
Alaka, 203 note.
Ambarísha, 72, 73, 74, 82, 220.
Amúrtarajas, 46.
Anala, 455 note.
Ananta, 373.
Andhak, 264.
Andhras, 549.
Anga, 38.
Angad, 342, 348, 350, 352 ff., 363, 364 note, 367, 374, 379 ff, 391, 402, 425 ff., 439, 442, 445, 448, 456, 458, 459, 475, 479 ff, 505.
Anjaná, 392.
Anśudhána, 179.
Anuhláda, 370.
Aparparyat, 178.
Apartála, 175.
Apsarases, 57, 198, 199, 229, 378.
Aptoryám, 24.
Arjun, 86.
Arjuna, 518.
Arthasádhak, 14.
Aruṇ, 246,
Aryaman, 124.
Áryan, 92.
Asamanj, 50, 53, 82, 138, 220.
Aśoka, 6, 10, 101, 205, 278, 296, 297, 300, 318, 321, 357, 403, 444, 452, 456.
Asurs, 57, 58, 380, 381, 387, 394, 407, 413, 420.
Aśvagríva, 246.
Aśvatarí, 346.
Aśvin, 371.
Aśvíní, 343.
Aśvins, 28, 36, 60, 62, 163, 246, 339, 343, 403, 490.
Atirátra, 24.
Aurva, 373 note.
Avantí, 374.
Avindhya, 415.
Ayodhyá, 4, 6, 11, 12, 14, 19, 32, 33, 38, 49, 70, 72, 79, 81, 83, 84, 85, 88, 95, 96, passim.
Ayomukh, 374.
Ayomukhi, 310.
[pg 567]Báhíka, 176.
Bahuputra, 245.
Bala, 264.
Bálakhilyas, 63, 235, 270, 271, 374.
Bali, 43, 59, 107, 275, 302, 421.
Báli, 5, 9, 29, 318, 324, 328, 329, 333 ff., 344, 356 ff., 362, 364, 366, 367, 379, 380, 391, 404, 412, 420, 440, 442, 448, 456, 458, 475, 478, 500, 503, 505.
Barbars, 66.
Beauty, 26, 29, 58, 88, 283, 455.
Bhadamadrá, 246.
Bhadra, 52.
Bhagírath, 53, 54, 55, 82, 220, 372.
Bhágírathí, 56.
Bharadvája, 4, 7, 9, 10, 158, 159, 193, 196, 197, 199, 200, 201, 501.
Bharat, 4, 9, 10, 32, 81, 83, 84, 88, 89, 94, 97, passim.
Bharatas, 550.
Bháruṇḍa, 178.
Bhásí, 246.
Bhásakarṇa, 420.
Bhava, 78.
Bhímá, 198.
Bhrigu, 40, 63, 73, 81, 85, 86, 88, 133, 220.
Brahmá, 6, 7, 10, 19, 25, 26, 33, 38, 39, 42, 46, 48, 54, 56, 59, 61, 63, 65, 67, 68, 74, 75, 77, 81, passim.
Brahmádikas, 133 note.
Bhrahmamálas, 548.
Budha, 287.
Buddhist, 219.
Cancer, 109.
Ceylon, 375 note.
Chaitra, 91.
Chaitraratha, 41, 178, 199, 267, 279, 315, 493.
Chakraván, 376.
Champá, 30.
Chaṇḍa, 448.
Chandra, 464.
Chatushṭom, 24.
Chitrakúṭa, 4, 9, 160, 161, 197, 200, 201, 202, 209, 235, 236, 317, 416, 501.
Chitraratha, 132.
Cholas, 549.
Chúli, 47.
Dadhimukh, 426.
Dadhivakra, 364 note.
Daitya, 125, 152, 211, 246, 289, 306, 371, 418.
Daksha, 36, 78, 228, 245, 257, 396.
Dánav, 255, 270, 306, 307, 311, 371, 372, 382, 432, 443, 477.
Daṇḍak, 9, 99, 103, 117, 124, 126, 130, 166, 181, 199, 211, 238, 271, 374.
Daṇḍaká, 5.
Dardur, 448.
Darímukha, 371.
Daśárṇa, 374.
Dasáratha, 3, 9, 12, 14, 16, 18 ff., 25, 26, 29, 30, 32, 34, 41, 61, 62, 77, 79, 80 ff., 91, 92, 95, passim.
Dasyus, 444.
Devamíḍha, 82.
Devasakhá, 378.
Devavatí, 515.
Dhanvantari, 57 note.
Dhanyamáliní, 481.
Dharmabhrit, 240.
Dharmapál, 14.
Dharmáraṇya, 46.
Dharmavardhan, 179.
Dhritaráshṭrí, 246.
[pg 568]Dhrishṭaketu, 82.
Dhúmráksha, 433 note, 465, 466.
Dikshá, 44.
Dilípa, 5 note, 53, 54, 56, 82, 171, 190, 220.
Dragon, 101.
Driḍhanetra, 68.
Drishṭi, 202.
Droṇa, 464.
Drumakulya, 444.
Durdhar, 420.
Durdharsha, 433 note.
Durjaya, 256 note.
Durvásas, 521.
Dúshaṇ, 5, 250, 254, 255, 256, 258, 259, 261, 264, 265, 267-271, 294, 461, 502.
Dwida, 364 note.
Dwijihva, 474.
Dwivid, 371, 428, 430, 449, 451, 475, 483, 484.
Dwivida, 28.
Dyumatsena, 129.
Ekapádakas, 549.
Ekaśála, 179.
Fate, 42, 68, 70, 71, 81, 119, 122, 123, 130, 181, 182, 195, 256, 293, 296, 309, 343, 349, 351, 354, 386, 404, 415, 439, 492.
Fire, 2, 30, 45, 49, 218, 374.
Fortune, 2, 58, 90, 94, 124, 146, 160, 188, 242, 244, 283, 449, 453.
Gádhi, 40, 48, 63, 64, 67, 68.
Gaja, 364 note, 371, 429, 449, 459.
Gálava, 518.
Gandhamádan, 28, 159, 381, 429, 446, 476.
Gandharva, 199, 256, 258, 259, 278, 285, 351, 396, 425, 437, 441, 454, 466, 468, 491.
Gandharvas, 267, 270, 281, 283, 306, 307, 308, 318, 364, 370, 375, 377, 388, 394, 409, 420, 432, 449, 455, 472.
Gangá, 7, 9, 37, 38, 45, 48, 49, passim.
Garga, 133.
Garuḍ, 28, 29, 53, 246, 271, 373, 453, 465, 470, 475.
Gautama, 236.
Gaváksha, 364 note, 429, 449, 468, 475, 476.
Gavaya, 364 note, 371, 429, 448, 468.
Gaya, 482.
Gayá, 216.
Gáyatrí, 243.
Ghoralohamukhas, 548.
Glory, 301.
Godávarí, 245, 247, 248, 249, 282, 303, 310, 374, 500.
Gokarna, 54.
Golabh, 351.
Gomatí, 151, 179, 448, 502, 503.
Gopa, 199.
Guha, 4, 9, 152-156, 162, 192, 193, 194, 208, 501.
Guhyakas, 378.
Háhá, 198.
Hanúmán, 5, 9, 10, 28, 324 ff., 328, 332, 337, 340, 350, 355, 359, 360, 363, 364 note, 368, 371, 374, 378 ff., 392 ff., 411 ff., 424 ff., 449, 456.
Hara, 448.
Harí, 246.
Hárítas, 66.
Haryaśva, 82.
Hástinapura, 176.
Hastiprishṭhak, 179.
[pg 569]Havishyand, 68.
Hemachandra, 60.
Heti, 515.
Himálaya, 3, 14, 45, 48, 49, 50, 53, 54, 61, 67, 76, 81, 88.
Himaváu, 380.
Hiraṇyanábha, 500.
Honour, 283.
Hotri, 24.
Hraśvaromá, 82.
Huhú, 198.
Ikshumatí, 80, 176.
Ikshváku, 2, 11, 13, 18, 24, 25, 35, 59, 60, 69, 70, 71, 73, 81, 82, 83, 90, 94, 96, 103, 219, 390.
Ilval, 241.
Indra, 2, 5, 13, 14, 25, 28, 29, 36, 39, 40, 43 ff., 50, 56, passim.
Indrajánu, 371 note.
Indrajít, 420, 432, 436, 437, 441, 455, 459 ff., 482, 485.
Indraśatru, 433 note.
Indraśira, 178.
Irávatí, 246.
Jábáli, 505.
Jahnu, 55.
Jámbaván, 371, 374, 388, 391, 393, 402, 425, 428, 429, 439, 446, 448, 456, 464, 483, 503.
Jambumálí, 418, 419, 420, 459, 460.
Jambuprastha, 179.
Jámbuvatu, 364 note.
Janak, 4, 8, 9, 21, 45, 60, 61, 62, 77-85, 88, 090, passim.
Janamejaya, 171.
Janasthán, 225, 251, 254, 255, 264, 265, 271, 281, 282, 294, 295, 298, 308, 404, 439, 454, 463, 474, 493, 500.
Játarúpa, 373.
Jaṭáyu, 5.
Jaṭáyus, 245, 247, 280, 288, 290, 308, 385 ff., 500, 502.
Java, 231.
Jáváli, 20, 80, 174, 217, 218, 219, 222.
Jayá, 36.
Jupiter, 144.
Justice, 3, 35, 42, 149, 243, 346, 454.
Jyotishṭom, 24.
Kabandha, 5, 9, 310-316, 446, 500.
Kadrú, 246.
Kadrumá, 246.
Kaikasí, 516.
Kaikeyí, 3, 4, 9, 27, 32, 88, 96-103, passim.
Kailása, 38, 85, 92, 96, 110, 111, 267, 286, 357, 364, 368, 369, 373, 378, 421, 431.
Kakustha, 35, 37, 82, 109, 110, 123, 137, 142, 147, 149, 151, 153, 192, 208, 211, 220, 311.
Kalá, 378.
Kálak, 246.
Kálakámuka, 256 note.
Kálamahí, 372.
Kalinda, 178.
Kalinga, 179.
Kalingas, 549,
Káma 37, 38, 42, 283, 286, 296.
[pg 570]Kámbojas, 66.
Kámpili, 47
Kandarpa, 37, 74, 75, 76, 250, 269.
Kaṇva, 440.
Kanyákubja, 47.
Kapivati, 179.
Kardam, 245.
Karṇaprávaraṇas, 548.
Kártikeya, 243.
Kárttavírya, 518.
Kásíkosalas, 548.
Kaśyap, 15, 16, 20, 30, 57-59, 80, 81, 86, 87, 91, 92, 118, 219, 215, passim.
Kátyáyan, 505.
Kauśalyá, 3, 23, 27, 30, 31, 79, 84, 88, 93, 94, 97, 98, 100, passim.
Kauśámbí, 46.
Kauśikas, 549.
Káverí, 375.
Kaustubha, 58.
Kávya, 40.
Kekaya, 21, 84, 88, 90, 137, 139, 174, 175.
Kerala, 190.
Keralas, 549.
Kesarí, 371.
Khara, 9, 225, 250 ff., 281, 288, 290, 294, 295, 433, 446, 451, 461, 477, 493.
Kinnars, 270, 306, 308, 318, 321, 373, 425.
Kimpurushas, 28 note.
Kírtirát, 82.
Kirtirátha, 82.
Kishkindhá, 5, 333, 334, 336, 338, 339, 351, 357, 362, 369, 385, 449, 464, 500.
Kośal, 11, 102, 273, 307, 359, 418.
Krathan, 448.
Kratu, 245.
Kraunchi, 246.
Krishṇa, 497.
Krishṇagiri, 448.
Krishṇveni, 374.
Kulingá, 176.
Kumbha, 484.
Kumbhakarṇa, 10, 250, 399, 411, 435 ff., 441, 470 ff.
Kuru(s), North, 198, 203, 315.
Kurujángal, 176.
Kuśámba, 46.
Kuśáśva, 60.
Kuśik, 33, 35, 36, 38, 44, 56, 62, 63, 68, 70 ff., 83.
Kuṭíká, 179.
Kuṭikoshṭiká, 179.
Kuvera, 23, 88, 109, 110, 111, 112, 198, 199, 204, 232, 267, 378, 422, 431, 432, 483.
Lakshmaṇ, 4, 8, 11, 32, 36, 38, 40, 41, 44, 45, 56, 61, 79, 80, 82-84, 88, 91, 94, 97, 98, passim.
Lakshmí, 88, 116, 146, 227, 400, 453, 462, 497.
Lamba, 397.
Lanká, 5, 10, 265, 267, 284, 286, 293, 295-297, 367, 387, 397, 411, 423 ff., 439, 456 ff.
Lankaṭankaṭá, 515.
Lohitya, 179.
Lokapálas, 485.
Lomapád, 15, 16, 18, 19, 21, 30.
[pg 571]Mádhaví, 520.
Madhúka, 245.
Madrakas, 550.
Mágadnas, 548.
Maghá, 83.
Mahábír, 82.
Mahábala, 433 note.
Mahábhárat, 520, 524, 551, 554.
Mahámáli, 256 note.
Mahándhrak, 82.
Mahápáráśva, 433, 436, 455, 478, 480, 487.
Mahárath, 68.
Maháromá, 82.
Maháruṇ, 368.
Maháśaila, 368.
Mahendra, 28, 59, 86, 87, 88, 140, 167, 213, 243, 244, 307, 336, 344, 364, 368, 370, 375, 490, 531, 554.
Mahí, 372.
Máhishmatí, 518.
Mahishikas, 549.
Mahodar, 433 note, 450, 455, 474, 478 ff.
Mainda, 28, 364 note, 371, 428, 430, 439, 449, 451, 458, 482, 483.
Makaráksha, 485 note.
Malaja, 39.
Málavas, 548.
Malaya, 198, 324, 328, 375, 379, 430.
Mánas, 38.
Mandakarṇi, 240.
Mandákiní, 200, 201, 203, 209, 234, 235, 304, 322, 416 note.
Mandalí, 556.
Mandar, 57, 163, 285, 362, 368, 372, 399, 402, 421, 485, 491, 493, 525.
Mandarí, 444.
Mándavi, 84.
Máṇḍavya, 226 note.
Mandehas, 373.
Mandodarí, 402, 492, 500, 516.
Mandra, 14.
Maṇibhadra, 441.
Manthará, 40, 96, 97, 99, 187.
Manu, 11, 12, 13, 81, 103, 151, 179, 219, 245, 246, 347, 490, 505, 537, 555.
Marícha, 58.
Márícha, 5, 9, 35, 39, 40, 44, 266, 271-280, 298.
Mars, 93, 144, 339, 404, 445, 467, 489.
Maruts, 25, 54, 59, 403, 517, 547, 555.
Mátali, 109, 142, 489, 491, 493.
Matanga, 14, 246, 315, 316, 317, 318, 319, 336, 337, 380.
Mátangí, 246.
Mátariśva, 389.
Meghamáli, 256 note.
Meghanáda, 10.
Mekhal, 374.
Menaká, 74.
Meru, 4, 49, 92, 109, 110, 142, 182, 232, 236, 254, 291, 315, 368, 370, 377, 380, 418, 493.
Meruśavarṇi, 382.
Mina, 32.
Miśrakeśí, 199.
Mithi, 82.
Míthilá, 9 note, 21, 45, 60, 61, 78, 81, 83, 84, 85.
Mitraghna, 459.
[pg 572]Modesty, 26.
Moon, 30, 42, 58, 109 ff., 124, 218, 227, 243, 276, 367, 413, 414, 488.
Mriga, 14.
Mrigamandá, 246.
Mrigí, 246.
Mudgalya, 174.
Nágadantá, 198.
Nágas, 12, 55, 66, 68, 145, 270, 273, 395, 409, 413, 420, 427, 518.
Nahush, 82, 95, 171, 190, 220, 307.
Nairrit, 430.
Nala, 10, 340, 364 note, 428, 444, 445, 448, 449, 468, 475, 483.
Nalá, 246.
Naliní, 55, 203, 204, 267, 436.
Namuchi, 39, 261, 264, 275, 336.
Nandá, 415.
Nandan, 26, 175, 200, 267, 279, 315, 316, 426.
Nandigráma, 4, 6, 9, 224, 502, 503.
Nandíśvara, 471.
Nandivardhan, 82.
Nárad, 1, 2, 8, 9, 124, 199, 543.
Narak, 479.
Narántak, 479.
Náráyaṇ, 25, 26, 95, 393, 474, 497, 516, 517, 522, 535, 559.
Nikumbha, 432, 433 note, 437, 459, 484.
Níla, 28, 340, 352, 360, 364 note, 371, 374, 428, 429, 430, 446, 448, 449, 456, 458, 459, 469, 472, 475, 482.
Nishádas, 4, 152, 192, 196, 271, 501, 537.
Ocean, 10, 95, 144, 285, 286, 336, 346, 387.
Oshṭhakarṇakas, 548.
Pahlavas, 66.
Pampá, 5, 9, 235, 293, 314-321, 327.
Panasa, 455 note.
Panchajan, 376.
Panchápsaras, 240.
Panchavaṭa, 9.
Paráśara, 517.
Paraśuráma, 119 note, 523, 531.
Paravíráksha, 256 note.
Paulastya, 472.
Pávaní, 55.
Phálguní, 83.
Pináka, 67.
Pitris, 550.
Prabháva, 363.
Prágvaṭ, 179.
Prahasta, 399, 418, 419, 421, 422, 432 ff., 441, 451, 452, 455, 456, 471, 481.
Praheti, 515.
Prahláda, 391.
Prajápati, 133 note, 554, 560.
Pralamba, 175.
Pramátha, 256 note.
Pramati, 455 note.
Praśravaṇ, 304, 357, 380, 383, 415, 426.
Prasthalas, 550.
Pratindhak, 82.
Pravargya, 22.
[pg 573]Prithuśyáma, 256 note.
Proshṭhapadá, 32.
Pulah, 245.
Pulastya, 35, 245, 254, 268, 288, 408, 515.
Pulindas, 550.
Puloma, 370.
Punarvasu, 93.
Puṇḍaríká, 199.
Puranda, 522.
Púshá, 124.
Pushpak, 10, 80, 286, 499, 519.
Pushya, 32, 90, 92, 94, 96, 98, 109, 126.
Rabhasa, 433 note.
Rághava, 5 note.
Raghu, 5, 9, 22, 32 ff., 50, 56, 61, passim.
Raghunandana, 522.
Ráhu, 93, 223, 261, 272, 303, 351, 480.
Ráma, passim.
Rámáyana, 8 note, 10, 11, 541, 542.
Ramaṇá, 199.
Rávaṇ, 5, 9, 10, 25, 26, 32, 35, passim.
Rikshaván, 448.
Rishabh, 373, 375, 429, 446, 476, 483.
Rishṭikas, 549.
Rishyamúka, 9, 314, 315, 316, 318 ff., 332, 335, 339, 340, 353, 380, 500.
Rohiṇí, 4, 112, 223, 227, 246, 251, 282, 287, 367, 404, 413, 445.
Rudhiráśana, 256 note.
Rudra, 49, 57, 67, 77, 78, 162, 249, 257, 264, 283, 296, 378, 413, 483.
Rukmiṇí, 517.
Rumá, 346, 349, 350, 363, 366, 367, 371, 385, 403.
Ruman, 371.
Sachí, 29, 202, 234, 238, 276, 286, 297, 370, 408, 415, 494, 519, 522.
Sagar, 11, 50 ff., 82, 119, 137, 171, 441.
Sahadeva, 60.
Śakra, 75, 234, 307, 313, 336, 344, 448, 464.
Śályakartan, 178.
Śambar, 479.
Sampáti, 5, 9, 246, 364 note, 385, 387 ff., 412, 455 note, 459, 460, 464.
Samprakshálas, 235.
Sandhyá, 515.
Sanháras, 36.
Sanhráda, 474.
Śaniśchar, 283.
Śankan, 82.
Śankha, 555.
Sanrochan, 448.
Śanśray, 245.
Śarabhanga, 9, 233, 234, 235, 236, 265, 502.
Sarandib, 375 note.
Sáranga, 556.
Sarasvatí, 178, 372, 516, 522.
Śárdúlí, 246.
[pg 574]Sarjú, 11, 20, 22, 36, 37, 38, 50, passim.
Sárvabhauma, 429.
Sarvartírtha, 179.
Śatahradá, 231.
Śatánanda, 62, 63, 77, 79, 80, 81, 84.
Śatrughna, 32, 83, 84, 88, 89, 97, passim.
Śatrunjay, 504.
Satyaván, 129.
Satyavatí, 48.
Saumanas, 373.
Sávarṇí, 377.
Seven Rishis, 23.
Śesha, 245.
Śilá, 178.
Śilávahá, 178.
Sindhu, 13, 21, 55, 102, 372, 376, 443.
Sítá, 4 ff., 55, 78, 79, 83, 84, 88, 93, passim.
Śiva, 4, 36, 42, 54, 55, 57, 67, 78, 82, 85, 86, 109, 110, 205, 523, 524, 543, 554.
Skanda, 554.
Soma, 52, 58, 198, 267, 378, 554.
Somadatta, 60.
Somadá, 47.
Śringavera, 4, 192, 196, 223, 501, 502.
Srinjay, 60.
Srutakírti, 84.
Stháṇumatí, 179.
Sthúlaśiras, 313.
Subáhu, 364 note.
Suchakshu, 55.
Suchandra, 60.
Śuchi, 238.
Sudámá, 178.
Sudarśan, 82, 83, 220, 373, 378, 448.
Sudarśandwíp, 374.
Sudhanvá, 82.
Sudhriti, 82.
Sugríva, 5, 6, 9, 28, 29, 314, 316, 318, 324 ff., 337, 339, 344, 346 ff., 371, 375 ff., 412, 414, 422, 424, 430, 439 ff., 446, 450, 519, 545.
Sukí, 246.
Śukra, 124, 210, 279, 384, 429.
Sumágadhí, 46.
Sumantra, 15, 16, 19, 21, 80, 92, passim.
Sumitrá, 27, 30, 32, 88, 94, passim.
Sunábha, 425.
Sunetra, 364 note.
Suparṇa, 53, 125, 231, 343, 349, 388.
Supárśva, 388.
Supátala, 364 note.
Suptaghna, 433 note.
Surá, 58.
Surapati, 522.
Suras, 58.
Súrasenas, 550.
Śúrpaṇakhá, 5, 9, 249 ff., 267 ff., 288, 502.
Súrya, 555.
Súryáksha, 364 note.
Súryaśatru, 433 note.
Súryaván, 375.
Susheṇ, 28, 351, 364 note, 376, 379, 380.
Sutanu, 199.
Sutíkshṇa, 9, 234, 236, 237, 240, 241.
[pg 575]Suvarat, 220.
Svayambhu, 394.
Svayamprabhá, 382.
Śvetáraṇya, 264.
Swarṇaromá, 82.
Śweta, 448.
Śyáma, 160.
Syandiká, 151.
Śyení, 246.
Táḍakeya, 266.
Taittiríya, 132.
Takshak, 432.
Takshaka, 267.
Támraparṇí, 375.
Tárá, 9, 336, 349 ff., 355, 359, 362, 363, 366, 367, 369, 371, 385, 403, 449, 546.
Tárak, 430.
Tárkshya, 214.
Ten-necked, 250.
Thirty-three Gods, 51.
Thousand-eyed, 41, 59, 60, 74, 75, 76, 86, 90, 112, 252, 297, 504.
Three-eyed God, 86.
Thunderer, 234.
Titan, 58, 67, 72, 79, 109, 114, 124.
Toraṇ, 179.
Trident, 68.
Trijaṭ, 133.
Triṇavindu, 515.
Trípathagá, 56.
Tripur, 306.
Triśanku, 68-72, 81, 144, 219, 429.
Triśirá, 9.
Triśirás, 256 note, 260, 261, 264, 267, 271, 478, 479, 480, 502.
Udayagiri, 379 note.
Udávasu, 82.
Ujjiháná, 179.
Ukthya, 24.
Umá, 49, 54, 205, 249 note, 471, 542, 543.
Upasad, 22.
Upasunda, 35.
Uśanas, 382.
Utkal, 374.
Váhli, 13.
Váhlíka, 376.
Vahni, 555.
Vaidyut, 375.
Vainateya, 388.
Vaiśravaṇ, 265, 285, 378, 414, 515.
Vaiśyas, 246.
Vaitaraṇí, 293.
Vajra, 376.
Vajradanshṭra, 432, 433 note, 466, 467.
Válmíki, 1, 7-11, 161, 519, 542.
Vámadeva, 14, 79, 80, 91, 174, 222, 505.
Vanáyu, 13.
Vangas, 102.
[pg 576]Varadas, 550.
Varuṇ, 1 note, 28, 42, 67, 88, 109, 124, 228, 243, 272, 293, 338, 377, 383, 448, 471, 518.
Varáśya, 256 note.
Varútha, 179.
Vásav, 92.
Vaśishṭha, 14, 15, 19-22, 25, 32, passim.
Vásuki, 57, 267, 375, 432, 518, 522.
Vasus, 14, 46, 246, 283, 377, 403, 522, 554.
Vasvaukasárá, 203.
Váyu, 59, 243, 369, 427, 428, 555.
Vedas, 1 note, 3, 12, 22, 70, 89, 109, 125, 147, 184, 229, 559.
Vedaśrutí, 151.
Vibháṇḍak, 15, 16, 17, 18, 25.
Vibhíshaṇ, 6, 10, 250, 273, 415, 422, 423, 433 ff., 449 ff., 472, 483, 487 ff., 516.
Vibudh, 82.
Vidarbhas, 549.
Videha, 79 ff., 129, 130, 142, 166, 195, 227.
Videhan, 9, 79, 95, 104, 119, 125, passim.
Videhas, 548.
Vidyádharí, 203 note.
Vidyujjihva, 450.
Vidyunmáli, 364 note.
Vidyutkeśa, 515.
Vihangama, 256 note.
Vikaṭá, 409.
Vikrit, 245.
Vinata, 179, 379, 380, 388, 448.
Vindhya, 14, 51, 242, 364, 370, 374, 380.
Vindu, 55.
Vírabáhu, 364 note.
Virádha, 5, 9, 229, 232, 404, 446, 502.
Viráj, 124.
Viramatsya, 178.
Virúpáksha, 52, 420, 433, 459, 460, 487.
Vishṇu, 1 note, 2, 3, 25, 32, 40, passim.
Viśravas, 35, 309, 408, 515, 516.
Viśváchi, 198.
Viśvajit, 24.
Viśvakarmá, 28, 42, 198, 376, 387, 444, 445, 448, 499, 500, 515, 556.
Viśvámitra, 9, 32 ff., 39, 41, 44, 45, passim.
Viśvarúpa, 353.
Viśvas, 377.
Viśvávasu, 198.
Viśvedevas, 162.
Vitardan, 474.
Vivasvat, 81, 171, 219, 245, 386, 532.
Vraṇa, 444.
Vrihadratha, 82.
Vrihaspati, 28, 31, 95, 124, 210, 307, 464, 517.
Vritra, 125, 264, 288, 387, 487, 491, 536.
Vulture-king, 9.
Wind-god, 10, 36, 42, 68, 325, 326, 379, 392 ff., 417 ff., 449, 470, 478, 481, 488, 502, 503.
Yavadwípa, 372.
Yajush, 326.
Yajnaśatru, 256 note.
Yaksha, 236 note, 306, 318, 363, 375, 394, 420, 422, 425, 431, 454, 458, 468.
Yáma, 68, 71, 112, 117, 124, 140, 166, 171, 241, 248, 262, 275, 287, 313, 343 ff., 432, 437, 449, 472, 475, 496, 518, 554.
Yamuná, 158, 159, 160, 178, 214, 223, 372.
Yámun, 372.
“Válmíki was the son of Varuṇa, the regent of the waters, one of whose names is Prachetas. According to the Adhyátmá Rámáyaṇa, the sage, although a Bráhman by birth, associated with foresters and robbers. Attacking on one occasion the seven Rishis, they expostulated with him successfully, and taught him the mantra of Ráma reversed, or Mará, Mará, in the inaudible repetition of which he remained immovable for thousands of years, so that when the sages returned to the same spot they found him still there, converted into a valmík or ant-hill, by the nests of the termites, whence his name of Válmíki.”
Wilson. Specimens of the Hindu Theatre, Vol. I. p. 313.
“Válmíki is said to have lived a solitary life in the woods: he is called both a muni and a rishi. The former word properly signifies an anchorite or hermit; the latter has reference chiefly to wisdom. The two words are frequently used promiscuously, and may both be rendered by the Latin vates in its earliest meaning of seer: Válmíki was both poet and seer, as he is said to have sung the exploits of Ráma by the aid of divining insight rather than of knowledge naturally acquired.” Schlegel.
Trikálajǹa. Literally knower of the three times. Both Schlegel and Gorresio quote Homer's.
The Bombay edition reads trilokajǹa, who knows the three worlds (earth, air and heaven.) “It is by tapas (austere fervour) that rishis of subdued souls, subsisting on roots, fruits and air, obtain a vision of the three worlds with all things moving and stationary.” Manu, XI. 236.
“Veda means originally knowing or knowledge, and this name is given by the Bráhmans not to one work, but to the whole body of their most ancient sacred literature. Veda is the same word which appears in the Greek οίδα, I know, and in the English wise, wisdom, to wit. The name of Veda is commonly given to four collections of hymns, which are respectively known by the names of Rig-veda, Yajur-veda, Sáma-veda, and Atharva-veda.”
“As the language of the Veda, the Sanskrit, is the most ancient type of the English of the present day, (Sanskrit and English are but varieties of one and the same language,) so its thoughts and feelings contain in reality the first roots and germs of that intellectual growth which by an unbroken chain connects our own generation with the ancestors of the Aryan race,—with those very people who at the rising and setting of the sun listened with trembling hearts to the songs of the Veda, that told them of bright powers above, and of a life to come after the sun of their own lives had set in the clouds of the evening. These men were the true ancestors of our race, and the Veda is the oldest book we have in which to study the first beginnings of our language, and of all that is embodied in language. We are by nature Aryan, Indo-European, not Semitic: our spiritual kith and kin are to be found in India, Persia, Greece, Italy, Germany: not in Mesopotamia, Egypt, or Palestine.”
Chips from a German Workshop, Vol. I. pp. 8. 4.
“Chandra, or the Moon, is fabled to have been married to the twenty-seven daughters of the patriarch Daksha, or Aśviní and the rest, who are in fact personifications of the Lunar Asterisms. His favourite amongst them was Rohiṇí to whom he so wholly devoted himself as to neglect the rest. They complained to their father, and Daksha repeatedly interposed, till, finding his remonstrances vain, he denounced a curse upon his son-in-law, in consequence of which he remained childless and became affected by consumption. The wives of Chandra having interceded in his behalf with their father, Daksha modified an imprecation which he could not recall, and pronounced that the decay should be periodical only, not permanent, and that it should alternate with periods of recovery. Hence the successive wane and increase of the Moon. Padma, Puráṇa, Swarga-Khaṇḍa, Sec. II. Rohiṇí in Astronomy is the fourth lunar mansion, containing five stars, the principal of which is Aldebaran.” Wilson, Specimens of the Hindu Theatre. Vol. I. p. 234.
The Bengal recension has a different reading:
Brahmá, the Creator, is usually regarded as the first God of the Indian Trinity, although, as Kálidása says:
Brahmá had guaranteed Rávaṇ's life against all enemies except man.
“I congratulate myself,” says Schlegel in the preface to his, alas, unfinished edition of the Rámáyan, “that, by the favour of the Supreme Deity, I have been allowed to begin so great a work; I glory and make my boast that I too after so many ages have helped to confirm that ancient oracle declared to Válmíki by the Father of Gods and men:
A legislator and saint, the son of Brahmá or a personification of Brahmá himself, the creator of the world, and progenitor of mankind. Derived from the root man to think, the word means originally man, the thinker, and is found in this sense in the Rig-veda.
Manu as a legislator is identified with the Cretan Minos, as progenitor of mankind with the German Mannus: “Celebrant carminibus antiquis, quod unum apud illos memoriæ et annalium genus est, Tuisconem deum terra editum, et filium Mannum, originem gentis conditoresque.” Tacitus, Germania, Cap. II.
The Sanskrit word Sindhu is in the singular the name of the river Indus, in the plural of the people and territories on its banks. The name appears as Hidku in the cuneiform inscription of Darius' son of Hystaspes, in which the nations tributary to that king are enumerated.
The Hebrew form is Hodda (Esther, I. 1.). In Zend it appears as Hendu in a somewhat wider sense. With the Persians later the signification of Hind seems to have co-extended with their increasing acquaintance with the country. The weak Ionic dialect omitted the Persian h, and we find in Hecatæus and Herodotus Ἴνδος and ἡ Ἰνδική. In this form the Romans received the names and transmitted them to us. The Arabian geographers in their ignorance that Hind and Sind are two forms of the same word have made of them two brothers and traced their decent from Noah. See Lassen's Indische Alterthumskunde Vol. I. pp. 2, 3.
A minute account of these ancient ceremonies would be out of place here. “Ágnishṭoma is the name of a sacrifice, or rather a series of offerings to fire for five days. It is the first and principal part of the Jyotishṭoma, one of the great sacrifices in which especially the juice of the Soma plant is offered for the purpose of obtaining Swarga or heaven.” Goldstücker's Dictionary. “The Ágnishṭoma is Agni. It is called so because they (the gods) praised him with this Stoma. They called it so to hide the proper meaning of the word: for the gods like to hide the proper meaning of words.”
“On account of four classes of gods having praised Agni with four Stomas, the whole was called Chatushṭoma (containing four Stomas).”
“It (the Ágnishṭoma) is called Jyotishṭoma, for they praised Agni when he had risen up (to the sky) in the shape of a light (jyotis).”
“This (Ágnishṭoma) is a sacrificial performance which has no beginning and no end.” Haug's Aitareya Bráhmaṇam.
The Atirátra, literally lasting through the night, is a division of the service of the Jyotishṭoma.
The Abhijit, the everywhere victorious, is the name of a sub-division of the great sacrifice of the Gavámanaya.
The Viśvajit, or the all-conquering, is a similar sub-division.
Áyus is the name of a service forming a division of the Abhiplava sacrifice.
The Aptoryám, is the seventh or last part of the Jyotishṭoma, for the performance of which it is not essentially necessary, but a voluntary sacrifice instituted for the attainment of a specific desire. The literal meaning of the word would be in conformity with the Prauḍhamanoramá, “a sacrifice which procures the attainment of the desired object.” Goldstücker's Dictionary.
“The Ukthya is a slight modification of the Ágnishṭoma sacrifice. The noun to be supplied to it is kratu. It is a Soma sacrifice also, and one of the seven Saṇsthas or component parts of the Jyotishṭoma. Its name indicates its nature. For Ukthya means ‘what refers to the Uktha,’ which is an older name for Shástra, i.e. recitation of one of the Hotri priests at the time of the Soma libations. Thus this sacrifice is only a kind of supplement to the Ágnishṭoma.” Haug. Ai. B.
To walk round an object keeping the right side towards it is a mark of great respect. The Sanskrit word for the observance is pradakshiṇá, from pra pro, and daksha right, Greek δεξίος, Latin dexter, Gaelic deas-il. A similar ceremony is observed by the Gaels.
“In the meantime she traced around him, with wavering steps, the propitiation, which some have thought has been derived from the Druidical mythology. It consists, as is well known, in the person who makes the deasil walking three times round the person who is the object of the ceremony, taking care to move according to the course of the sun.”
Scott. The Two Drovers.
Siddhas, demigods or spirits of undefined attributes, occupying with the Vidyádharas the middle air or region between the earth and the sun.
Schlegel translates: “Divi, Sapientes, Fidicines, Præpetes, illustres Genii, Præconesque procrearunt natos, masculos, silvicolas; angues porro, Hippocephali Beati, Aligeri, Serpentesque frequentes alacriter generavere prolem innumerabilem.”
The Michelia champaca. It bears a scented yellow blossom:
Lallah Rookh.
The story of this famous saint is given at sufficient length in Cantos LI-LV.
This saint has given his name to the district and city to the east of Benares. The original name, preserved in a land-grant on copper now in the Museum of the Benares College, has been Moslemized into Ghazeepore (the City of the Soldier-martyr).
“This is one of those indefinable mythic personages who are found in the ancient traditions of many nations, and in whom cosmogonical or astronomical notions are generally figured. Thus it is related of Agastya that the Vindhyan mountains prostrated themselves before him; and yet the same Agastya is believed to be regent of the star Canopus.” Gorresio.
He will appear as the friend and helper of Ráma farther on in the poem.
Now called Kośí (Cosy) corrupted from Kauśikí, daughter of Kuś]a.
“This is one of those personifications of rivers so frequent in the Grecian mythology, but in the similar myths is seen the impress of the genius of each people, austere and profoundly religious in India, graceful and devoted to the worship of external beauty in Greece.” Gorresio.
Kings are called the husbands of their kingdoms or of the earth; “She and his kingdom were his only brides.” Raghuvaṅśa.
King Richard II. Act V. Sc. I.
“One of the elephants which, according to an ancient belief popular in India, supported the earth with their enormous backs; when one of these elephants shook his wearied head the earth trembled with its woods and hills. An idea, or rather a mythical fancy, similar to this, but reduced to proportions less grand, is found in Virgil when he speaks of Enceladus buried under Ætna:”
Æneid. Lib. III. Gorresio.
“The Devas and Asuras (Gods and Titans) fought in the east, the south, the west, and the north, and the Devas were defeated by the Asuras in all these directions. They then fought in the north-eastern direction; there the Devas did not sustain defeat. This direction is aparájitá, i.e. unconquerable. Thence one should do work in this direction, and have it done there; for such a one (alone) is able to clear off his debts.” Haug's Aitareya Bráhmanam, Vol. II, p. 33.
The debts here spoken of are a man's religious obligations to the Gods, the Pitaras or Manes, and men.
Churning of the Ocean.
“That this story of the birth of Lakshmí is of considerable antiquity is evident from one of her names Kshírábdhi-tanayá, daughter of the Milky Sea, which is found in Amarasinha the most ancient of Indian lexicographers. The similarity to the Greek myth of Venus being born from the foam of the sea is remarkable.”
“In this description of Lakshmí one thing only offends me, that she is said to have four arms. Each of Vishṇu's arms, single, as far as the elbow, there branches into two; but Lakshmí in all the brass seals that I possess or remember to have seen has two arms only. Nor does this deformity of redundant limbs suit the pattern of perfect beauty.” Schlegel. I have omitted the offensive epithet.
Divine personages of minute size produced from the hair of Brahmá, and probably the origin of
“It is well known that the Persians were called Pahlavas by the Indians. The Śakas are nomad tribes inhabiting Central Asia, the Scythes of the Greeks, whom the Persians also, as Herodotus tells us, called Sakæ just as the Indians did. Lib. VII 64 ὁι γὰρ Πέρσαι πάντας τοὺς Σύθας. καλέουσι Σάκας. The name Yavans seems to be used rather indefinitely for nations situated beyond Persia to the west.… After the time of Alexander the Great the Indians as well as the Persians called the Greeks also Yavans.” Schlegel.
Lassen thinks that the Pahlavas were the same people as the Πάκτυες of Herodotus, and that this non-Indian people dwelt on the north-west confines of India.
“The names of many of these weapons which are mythical and partly allegorical have occurred in Canto XXIX. The general signification of the story is clear enough. It is a contest for supremacy between the regal or military order and Bráhmanical or priestly authority, like one of those struggles which our own Europe saw in the middle ages when without employing warlike weapons the priesthood frequently gained the victory.” Schlegel.
For a full account of the early contests between the Bráhmans and the Kshattriyas, see Muir's Original Sanskrit Texts (Second edition) Vol. I. Ch. IV.
“Ambarísha is the twenty-ninth in descent from Ikshváku, and is therefore separated by an immense space of time from Triśanku in whose story Viśvámitra had played so important a part. Yet Richíka, who is represented as having young sons while Ambarísha was yet reigning being himself the son of Bhrigu and to be numbered with the most ancient sages, is said to have married the younger sister of Viśvámitra. But I need not again remark that there is a perpetual anachronism in Indian mythology.” Schlegel..
“In the mythical story related in this and the following Canto we may discover, I think, some indication of the epoch at which the immolation of lower animals was substituted for human sacrifice.… So when Iphigenia was about to be sacrificed at Aulis, one legend tells us that a hind was substituted for the virgin.” Gorresio.
So the ram caught in the thicket took the place of Isaac, or, as the Musalmáns say, of Ishmael.
Sítá means a furrow.
Iliad, Book II.
It was the custom of the kings of the solar dynasty to resign in their extreme old age the kingdom to the heir, and spend the remainder of their days in holy meditation in the forest:
Raghuraṅśa.
See Book I, Canto XXXIX. An Indian prince in more modern times appears to have diverted himself in a similar way.
It is still reported in Belgaum that Appay Deasy was wont to amuse himself “by making several young and beautiful women stand side by side on a narrow balcony, without a parapet, overhanging the deep reservoir at the new palace in Nipani. He used then to pass along the line of trembling creatures, and suddenly thrusting one of them headlong into the water below, he used to watch her drowning, and derive pleasure from her dying agonies.”—History of the Belgaum District. By H. J. Stokes, M. S. C.
“So in Homer the horses of Achilles lamented with many bitter tears the death of Patroclus slain by Hector:”
Iliad. XVII. 426.
“Ancient poesy frequently associated nature with the joys and sorrows of man.” Gorresio.
So dying York cries over the body of Suffolk:
King Henry V, Act IV, 6.
It would be lost labour to attempt to verify all the towns and streams mentioned in Cantos LXVIII and LXXII. Professor Wilson observes (Vishṇu Puráṇa, p. 139. Dr. Hall's Edition) “States, and tribes, and cities have disappeared, even from recollection; and some of the natural features of the country, especially the rivers, have undergone a total alteration.… Notwithstanding these impediments, however, we should be able to identify at least mountains and rivers, to a much greater extent than is now practicable, if our maps were not so miserably defective in their nomenclature. None of our surveyors or geographers have been oriental scholars. It may be doubted if any of them have been conversant with the spoken language of the country. They have, consequently, put down names at random, according to their own inaccurate appreciation of sounds carelessly, vulgarly, and corruptly uttered; and their maps of India are crowded with appellations which bear no similitude whatever either to past or present denominations. We need not wonder that we cannot discover Sanskrit names in English maps, when, in the immediate vicinity of Calcutta, Barnagore represents Baráhanagar, Dakshineśwar is metamorphosed into Duckinsore, Ulubaría into Willoughbury.… There is scarcely a name in our Indian maps that does not afford proof of extreme indifference to accuracy in nomenclature, and of an incorrectness in estimating sounds, which is, in some degree, perhaps, a national defect.”
For further information regarding the road from Ayodhyá to Rájagriha, see Additional Notes.
It was the custom of Indian women when mourning for their absent husbands to bind their hair in a long single braid.
Carey and Marshman translate, “the one-tailed city.”
“The Jonesia Asoca is a tree of considerable size, native of southern India. It blossoms in February and March with large erect compact clusters of flowers, varying in colour from pale-orange to scarlet, almost to be mistaken, on a hasty glance, for immense trusses of bloom of an Ixora. Mr. Fortune considered this tree, when in full bloom, superior in beauty even to the Amherstia.
The first time I saw the Asoc in flower was on the hill where the famous rock-cut temple of Kárlí is situated, and a large concourse of natives had assembled for the celebration of some Hindoo festival. Before proceeding to the temple the Mahratta women gathered from two trees, which were flowering somewhat below, each a fine truss of blossom, and inserted it in the hair at the back of her head.… As they moved about in groups it is impossible to imagine a more delightful effect than the rich scarlet bunches of flowers presented on their fine glossy jet-black hair.” Firminger, Gardening for India.
I omit five ślokas which contain nothing but a list of trees for which, with one or two exceptions, there are no equivalent names in English. The following is Gorresio's translation of the corresponding passage in the Bengal recension:—
“Oh come risplendono in questa stagione di primavera i vitici, le galedupe, le bassie, le dalbergie, i diospyri … le tile, le michelie, le rottlerie, le pentaptere ed i pterospermi, i bombaci, le grislee, gli abri, gli amaranti e le dalbergie; i sirii, le galedupe, le barringtonie ed i palmizi, i xanthocymi, il pepebetel, le verbosine e le ticaie, le nauclee le erythrine, gli asochi, e le tapie fanno d'ogni intorno pompa de' lor fiori.”
The semi divine Hanumán possesses, like the Gods and demons, the power of wearing all shapes at will. He is one of the Kámarúpís.
“In our own metrical romances, or wherever a poem is meant not for readers but for chanters and oral reciters, these formulæ, to meet the same recurring case, exist by scores. Thus every woman in these metrical romances who happens to be young, is described as ‘so bright of ble,’ or complexion; always a man goes ‘the mountenance of a mile’ before he overtakes or is overtaken. And so on through a vast bead-roll of cases. In the same spirit Homer has his eternal τον δ'αρ' ὑποδρα ιδων, or τον δ'απαμειβομενος προσφη, &c.
To a reader of sensibility, such recurrences wear an air of child-like simplicity, beautifully recalling the features of Homer's primitive age. But they would have appeared faults to all commonplace critics in literary ages.”
De Quincey. Homer and the Homeridæ.
Fire for sacred purposes is produced by the attrition of two pieces of wood. In marriage and other solemn covenants fire is regarded as the holy witness in whose presence the agreement is made. Spenser in a description of a marriage, has borrowed from the Roman rite what he calls the housling, or “matrimonial rite.”
Faery Queen, Book I. XII. 37.
The Vedas stolen by the demons Madhu and Kaiṭabha.
“The text has [Sanskrit text] which signifies literally ‘the lost vedic tradition.’ It seems that allusion is here made to the Vedas submerged in the depth of the sea, but promptly recovered by Vishṇu in one of his incarnations, as the brahmanic legend relates, with which the orthodoxy of the Bráhmans intended perhaps to allude to the prompt restoration and uninterrupted continuity of the ancient vedic tradition.”
Gorresio.
The wood in which Skanda or Kártikeva was brought up:
See also Book I, Canto XXIX.
Righteous because he never transgresses his bounds, and
Budha, not to be confounded with the great reformer Buddha, is the son of Soma or the Moon, and regent of the planet Mercury. Angára is the regent of Mars who is called the red or the fiery planet. The encounter between Michael and Satan is similarly said to have been as if
Paradise Lost. Book VI.
It is believed that every creature killed by Ráma obtained in consequence immediate beatitude.
“And blessed the hand that gave so dear a death.”
Macbeth.
Thus Milton makes the hills of heaven self-moving at command:
Rávaṇ in his magic car carrying off the most beautiful women reminds us of the magician in Orlando Furioso, possesor of the flying horse.
The śloka which follows is probably an interpolation, as it is inconsistent with the questioning in Canto L.:
Similarly Antenor urges the restoration of Helen:
Pope's Homer's Iliad, Book VII.
“The One-footed.”
“In that Contree,” says Sir John Maundevile, “ben folk, that han but o foot and thei gon so fast that it is marvaylle: and the foot is so large that it schadeweth alle the Body azen the Sonne, when thei wole lye and rest hem.” So Pliny, Natural History, lib. vii. c. 2: speaks of “Hominumn gens … singulis cruribus, miræ pernicitatis ad saltum; eosdemque Sciopodas vocari, quod in majori æstu, humi jacentes resupini, umbrâ se pedum protegant.”
These epithets are, as Professor Wilson remarks, “exaggerations of national ugliness, or allusions to peculiar customs, which were not literally intended, although they may have furnished the Mandevilles of ancient and modern times.”
Vishṇu Puráṇa, Vol. II. p. 162.
“Pulinda is applied to any wild or barbarous tribe. Those here named are some of the people of the deserts along the Indus; but Pulindas are met with in many other positions, especially in the mountains and forests across Central India, the haunts of the Bheels and Gonds. So Ptolemy places the Pulindas along the banks of the Narmadá, to the frontiers of Larice, the Látá or Lár of the Hindus,—Khandesh and part of Gujerat.” Wilson's Vishṇu Puráṇa, Vol. II. 159, Note.
Dr. Hall observes that “in the Bengal recension of the Rámáyaṇa the Pulindas appear both in the south and in the north. The real Rámáyaṇa K.-k., XLIII., speaks of the northern Pulindas.”