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
Canto I. Nárad.7
OM.8Canto II. Brahmá's Visit
Canto III. The Argument.
Canto IV. The Rhapsodists.
Canto V. Ayodhyá.
Canto VI. The King.
Canto VII. The Ministers.
Canto VIII. Sumantra's Speech.
Canto IX. Rishyasring.
Canto X. Rishyasring Invited.
Canto XI. The Sacrifice Decreed.
Canto XII. The Sacrifice Begun.
Canto XIII. The Sacrifice Finished.
Canto XIV. Rávan Doomed.
Canto XV. The Nectar.
Canto XVI. The Vánars.
Canto XVII. Rishyasring's Return.
Canto XVIII. Rishyasring's Departure.
Canto XIX. The Birth Of The Princes.
Canto XX. Visvámitra's Visit.
Canto XXI. Visvámitra's Speech.
Canto XXII. Dasaratha's Speech.
Canto XXIII. Vasishtha's Speech.
Canto XXIV. The Spells.
Canto XXV. The Hermitage Of Love.
Canto XXVI. The Forest Of Tádaká.
Canto XXVII. The Birth Of Tádaká.
Canto XXVIII. The Death Of Tádaká.
Canto XXIX. The Celestial Arms.
Canto XXX. The Mysterious Powers.166
Canto XXXI. The Perfect Hermitage.
Canto XXXII. Visvámitra's Sacrifice.
Canto XXXIII. The Sone.
Canto XXXIV. Brahmadatta.
Canto XXXV. Visvámitra's Lineage.
Canto XXXVI. The Birth Of Gangá.
[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.]
Canto XXXIX. The Sons Of Sagar.
Canto XL. The Cleaving Of The Earth.
Canto XLI. Kapil.
Canto XLII. Sagar's Sacrifice.
Canto XLIII. Bhagírath.
Canto XLIV. The Descent Of Gangá.
Canto XLV. The Quest Of The Amrit.
Canto XLVI. Diti's Hope.
Canto XLVII. Sumati.
Canto XLVIII. Indra And Ahalyá
Canto XLIX. Ahalyá Freed.
Canto L. Janak.
Canto LI. Visvámitra.
Canto LII. Vasishtha's Feast.
Canto LIII. Visvámitra's Request.
Canto LIV. The Battle.
Canto LV. The Hermitage Burnt.
Canto LVI. Visvámitra's Vow.
Canto LVII. Trisanku.
Canto LVIII. Trisanku Cursed.
Canto LIX. The Sons Of Vasishtha.
Canto LX. Trisanku's Ascension.
Canto LXI. Sunahsepha.
Canto LXII. Ambarísha's Sacrifice.
Canto LXIII. Menaká.
Canto LXIV. Rambhá.
Canto LXV. Visvámitra's Triumph
Canto LXVI. Janak's Speech.
Canto LXVII. The Breaking Of The Bow.
Canto LXVIII. The Envoys' Speech.
Canto LXIX. Dasaratha's Visit.
Canto LXX. The Maidens Sought.
Canto LXXI. Janak's Pedigree.
Canto LXXII. The Gift Of Kine.
Canto LXXIII. The Nuptials.
Canto LXXIV. Ráma With The Axe.254
Canto LXXV. The Parle.
Canto LXXVI. Debarred From Heaven.
Canto LXXVII. Bharat's Departure.
BOOK II.
Canto I. The Heir Apparent.
Canto II. The People's Speech.
Canto III. Dasaratha's Precepts.
Canto IV. Ráma Summoned.
Canto V. Ráma's Fast.
Canto VI. The City Decorated.
Canto VII. Manthará's Lament.
Canto VIII. Manthará's Speech.
Canto IX. The Plot.
Canto X. Dasaratha's Speech.
Canto XI. The Queen's Demand.
Canto XII. Dasaratha's Lament.
Canto XIII. Dasaratha's Distress.
Canto XIV. Ráma Summoned.
Canto XV. The Preparations.
Canto XVI. Ráma Summoned.
Canto XVII. Ráma's Approach.
Canto XVIII. The Sentence.
Canto XIX. Ráma's Promise.
Canto XX. Kausalyá's Lament.
Canto XXI. Kausalyá Calmed.
Canto XXII. Lakshman Calmed.
Canto XXIII. Lakshman's Anger.
Canto XXIV. Kausalyá Calmed.
Canto XXV. Kausalyá's Blessing.
Canto XXVI. Alone With Sítá.
Canto XXVII. Sítá's Speech.
Canto XXVIII. The Dangers Of The Wood.
Canto XXIX. Sítá's Appeal.
Canto XXX. The Triumph Of Love.
Canto XXXI. Lakshman's Prayer.
Canto XXXII. The Gift Of The Treasures.
Canto XXXIII. The People's Lament.
Canto XXXIV. Ráma In The Palace.
Canto XXXV. Kaikeyí Reproached.
Canto XXXVI. Siddhárth's Speech.
Canto XXXVII. The Coats Of Bark.
Canto XXXVIII. Care For Kausalyá
Canto XXXIX. Counsel To Sítá.
Canto XL. Ráma's Departure.
Canto XLI. The Citizens' Lament.
Canto XLII. Dasaratha's Lament.
Canto XLIII. Kausalyá's Lament.
Canto XLIV. Sumitrá's Speech.
Canto XLV. The Tamasá.
Canto XLVI. The Halt.
Canto XLVII. The Citizens' Return.
Canto XLVIII. The Women's Lament.
Canto XLIX. The Crossing Of The Rivers.
Canto L. The Halt Under The Ingudí.322
Canto LI. Lakshman's Lament.
Canto LII. The Crossing Of Gangá.
Canto LIII. Ráma's Lament.
Canto LIV. Bharadvája's Hermitage.
Canto LV. The Passage Of Yamuná.
Canto LVI. Chitrakúta
Canto LVII. Sumantra's Return.
Canto LVIII. Ráma's Message.
Canto LIX. Dasaratha's Lament.
Canto LX. Kausalyá Consoled.
Canto LXI. Kausalyá's Lament.
Canto LXII. Dasaratha Consoled.
Canto LXIII. The Hermit's Son.
Canto LXIV. Dasaratha's Death.
Canto LXV. The Women's Lament.
Canto LXVI. The Embalming.
Canto LXVII. The Praise Of Kings.
Canto LXVIII. The Envoys.
Canto LXIX. Bharat's Dream.
Canto LXX. Bharat's Departure.
Canto LXXI. Bharat's Return.
Canto LXXII. Bharat's Inquiry.
Canto LXXIII. Kaikeyí Reproached.
Canto LXXIV. Bharat's Lament.
Canto LXXV. The Abjuration.
Canto LXXVI. The Funeral.
Canto LXXVII. The Gathering Of The Ashes.
Canto LXXVIII. Manthará Punished.
Canto LXXIX. Bharat's Commands.
Canto LXXX. The Way Prepared.
Canto LXXXI. The Assembly.
Canto LXXXII. The Departure.
Canto LXXXIII. The Journey Begun.
Canto LXXXIV. Guha's Anger.
Canto LXXXV. Guha And Bharat.
Canto LXXXVI. Guha's Speech.
Canto LXXXVII. Guha's Story.
Canto LXXXVIII. The Ingudí Tree.
Canto LXXXIX. The Passage Of Gangá.
Canto XC. The Hermitage.
Canto XCI. Bharadvája's Feast.
Canto XCII. Bharat's Farewell.
Canto XCIII. Chitrakúta In Sight.
Canto XCIV. Chitrakúta.
Canto XCV. Mandákiní.
Canto XCVI. The Magic Shaft.374
Canto XCVII. Lakshman's Anger.
Canto XCVIII. Lakshman Calmed.
Canto XCIX. Bharat's Approach.
Canto C. The Meeting.
Canto CI. Bharata Questioned.
Canto CII. Bharat's Tidings.
Canto CIII. The Funeral Libation.
Canto CIV. The Meeting With The Queens.
Canto CV. Ráma's Speech.
Canto CVI. Bharat's Speech.
Canto CVII. Ráma's Speech.
Canto CVIII. Jáváli's Speech.
Canto CIX. The Praises Of Truth.
Canto CX. The Sons Of Ikshváku.389
Canto CXI. Counsel To Bharat.
Canto CXII. The Sandals.
Canto CXIII. Bharat's Return.
Canto CXIV. Bharat's Departure.
Canto CXV. Nandigrám.398
Canto CXVI. The Hermit's Speech.
Canto CXVII. Anasúyá.
Canto CXVIII. Anasúyá's Gifts.
Canto CXIX. The Forest.
BOOK III.
Canto I. The Hermitage.
Canto II. Virádha.
Canto III. Virádha Attacked.
Canto IV. Virádha's Death.
Canto V. Sarabhanga.
Canto VI. Ráma's Promise.
Canto VII. Sutíkshna.
Canto VIII. The Hermitage.
Canto IX. Sítá's Speech.
Canto X. Ráma's Reply.
Canto XI. Agastya.
Canto XII. The Heavenly Bow.
Canto XIII. Agastya's Counsel.
Canto XIV. Jatáyus.
Canto XV. Panchavatí.
Canto XVI. Winter.
Canto XVII. Súrpanakhá.
Canto XVIII. The Mutilation.
Canto XIX. The Rousing Of Khara.
Canto XX. The Giants' Death.
Canto XXI. The Rousing Of Khara.
Canto XXII. Khara's Wrath.
Canto XXIII. The Omens.
Canto XXIV. The Host In Sight.
Canto XXV. The Battle.
Canto XXVI. Dúshan's Death.
Canto XXVII. The Death Of Trisirás.
Canto XXVIII. Khara Dismounted.
Canto XXIX. Khara's Defeat.
Canto XXX. Khara's Death.
Canto XXXI. Rávan.
Canto XXXII. Rávan Roused.
Canto XXXIII. Súrpanakhá's Speech.
Canto XXXIV. Súrpanakhá's Speech.
Canto XXXV. Rávan's Journey.
Canto XXXVI. Rávan's Speech.
Canto XXXVII. Márícha's Speech.
Canto XXXVIII. Márícha's Speech.
Canto XXXIX. Márícha's Speech.
Canto XL. Rávan's Speech.
Canto XLI. Márícha's Reply.
Canto XLII. Márícha Transformed.
Canto XLIII. The Wondrous Deer.
Canto XLIV. Márícha's Death.
Canto XLV. Lakshman's Departure.
Canto XLVI. The Guest.
Canto XLVII. Rávan's Wooing.
Canto XLVIII. Rávan's Speech.
Canto XLIX. The Rape Of Sítá.
Canto L. Jatáyus.
Canto LI. The Combat.
Canto LII. Rávan's Flight.
Canto LIII. Sítá's Threats.
Canto LIV. Lanká.
Canto LV. Sítá In Prison.
Canto LVI. Sítá's Disdain.
Canto LVII. Sítá Comforted.
Canto LVIII. The Brothers' Meeting.
Canto LIX. Ráma's Return.
Canto LX. Lakshman Reproved.
Canto LXI. Ráma's Lament.
Canto LXII. Ráma's Lament.
Canto LXIII. Ráma's Lament.
Canto LXIV. Ráma's Lament.
Canto LXV. Ráma's Wrath.
Canto LXVI. Lakshman's Speech.
Canto LXVII. Ráma Appeased.
Canto LXVIII. Jatáyus.
Canto LXIX. The Death Of Jatáyus.
Canto LXX. Kabandha.
Canto LXXI. Kabandha's Speech.
Canto LXXII. Kabandha's Tale.
Canto LXXIII. Kabandha's Counsel.
Canto LXXIV. Kabandha's Death.
Canto LXXV. Savarí.
Canto LXXVI. Pampá.
BOOK IV.
Canto I. Ráma's Lament.
Canto II. Sugríva's Alarm.
Canto III. Hanumán's Speech.
Canto IV. Lakshman's Reply.
Canto V. The League.
Canto VI. The Tokens.
Canto VII. Ráma Consoled.
Canto VIII. Ráma's Promise.
Canto IX. Sugríva's Story.562
Canto X. Sugríva's Story.
Canto XI. Dundubhi.
Canto XII. The Palm Trees.
Canto XIII. The Return To Kishkindhá.
Canto XIV. The Challenge.
Canto XV. Tárá.
Canto XVI. The Fall Of Báli.
Canto XVII. Báli's Speech.
Canto XVIII. Ráma's Reply.
Canto XIX. Tárá's Grief.
Canto XX. Tárá's Lament.
Canto XXI. Hanumán's Speech.
Canto XXII. Báli Dead.
Canto XXIII. Tárá's Lament.
Canto XXIV. Sugríva's Lament.
Canto XXV. Ráma's Speech.
Canto XXVI. The Coronation.
Canto XXVII. Ráma On The Hill.
Canto XXVIII. The Rains.
Canto XXIX. Hanumán's Counsel.
Canto XXX. Ráma's Lament.
Canto XXXI. The Envoy.
Canto XXXII. Hanumán's Counsel.
Canto XXXIII. Lakshman's Entry.
Canto XXXIV. Lakshman's Speech.
Canto XXXV. Tárá's Speech.
Canto XXXVI. Sugríva's Speech.
Canto XXXVII. The Gathering.
Canto XXXVIII. Sugríva's Departure.
Canto XXXIX. The Vánar Host.
Canto XL. The Army Of The East.
Canto XLI. The Army Of The South.
Canto XLII. The Army Of The West.
Canto XLIII. The Army Of The North.
Canto XLIV. The Ring.
Canto XLV. The Departure.
Canto XLVI. Sugríva's Tale.
Canto XLVII. The Return.
Canto XLVIII. The Asur's Death.
Canto XLIX. Angad's Speech.
Canto L. The Enchanted Cave.
Canto LI. Svayamprabhá.
Canto LII. The Exit.
Canto LIII. Angad's Counsel.
Canto LIV. Hanumán's Speech.
Canto LV. Angad's Reply.
Canto LVI. Sampáti.
Canto LVII. Angad's Speech.
Canto LVIII. Tidings Of Sítá.
Canto LIX. Sampáti's Story.
Canto LX. Sampáti's Story.
Canto LXI. Sampáti's Story.
Canto LXII. Sampáti's Story.
Canto LXIII. Sampáti's Story.
Canto LXIV. The Sea.
Canto LXV. The Council.
Canto LXVI. Hanumán.
Canto LXVII. Hanumán's Speech.
BOOK V.787
Canto I. Hanumán's Leap.
Canto II. Lanká.
Canto III. The Guardian Goddess.
Canto IV. Within The City.
[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.]
Canto VI. The Court.
Canto VII. Rávan's Palace.
Canto VIII. The Enchanted Car.
Canto IX. The Ladies' Bower.
Canto X. Rávan Asleep.
Canto XI. The Banquet Hall.
Canto XII. The Search Renewed.
Canto XIII. Despair And Hope.
Canto XIV. The Asoka Grove.
Canto XV. Sítá.
Canto XVI. Hanumán's Lament.
Canto XVII. Sítá's Guard.
Canto XVIII. Rávan.
Canto XIX. Sítá's Fear.
Canto XX. Rávan's Wooing.
Canto XXI. Sítá's Scorn.
Canto XXII. Rávan's Threat.
Canto XXIII. The Demons' Threats.
Canto XXIV. Sítá's Reply.
Canto XXV. Sítá's Lament.
Canto XXVI. Sítá's Lament.
Canto XXVII. Trijatá's Dream.
[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.”]
Canto XXX. Hanumán's Deliberation.
Canto XXXI. Hanumán's Speech.
Canto XXXII. Sítá's Doubt.
Canto XXXIII. The Colloquy.
Canto XXXIV. Hanumán's Speech.
Canto XXXV. Hanumán's Speech.
Canto XXXVI. Ráma's Ring.
Canto XXXVII. Sítá's Speech.
Canto XXXVIII. Sítá's Gem.
[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.]
Canto XLI. The Ruin Of The Grove.
Canto XLII. The Giants Roused.
Canto XLIII. The Ruin Of The Temple.
Canto XLIV. Jambumáli's Death.
Canto XLV. The Seven Defeated.
Canto XLVI. The Captains.
Canto XLVII. The Death Of Aksha.
Canto XLVIII. Hanumán Captured.
Canto XLIX. Rávan.
Canto L. Prahasta's Questions.
Canto LI. Hanumán's Reply.
Canto LII. Vibhishan's Speech.
Canto LIII. The Punishment.
Canto LIV. The Burning Of Lanká.
Canto LV. Fear For Sítá.
Canto LVI. Mount Arishta.
Canto LVII. Hanumán's Return.
Canto LVIII. The Feast Of Honey.
[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.]
Canto LXV. The Tidings.
Canto LXVI. Ráma's Speech.
BOOK VI.895
Canto I. Ráma's Speech.
Canto II. Sugríva's Speech.
Canto III. Lanká.
Canto IV. The March.
Canto V. Ráma's Lament.
Canto VI. Rávan's Speech.
Canto VII. Rávan Encouraged.
Canto VIII. Prahasta's Speech.
Canto IX. Vibhishan's Counsel.
Canto X. Vibhishan's Counsel.
Canto XI. The Summons.
Canto XII. Rávan's Speech.
Canto XIII. Rávan's Speech.
Canto XIV. Vibhishan's Speech.
Canto XV. Indrajít's Speech.
Canto XVI. Rávan's Speech.
Canto XVII. Vibhishan's Flight.
Canto XVIII. Ráma's Speech.
Canto XIX. Vibhishan's Counsel.
Canto XX. The Spies.
Canto XXI. Ocean Threatened.
Canto XXII. Ocean Threatened.
Canto XXIII. The Omens.
Canto XXIV. The Spy's Return.
Canto XXV. Rávan's Spies.938
Canto XXVI. The Vánar Chiefs.
Canto XXVII. The Vánar Chiefs.
Canto XXVIII. The Chieftains.
Canto XXIX. Sárdúla Captured.
Canto XXX. Sárdúla's Speech.
Canto XXXI. The Magic Head.
Canto XXXII. Sítá's Lament.
Canto XXXIII. Saramá.
Canto XXXIV. Saramá's Tidings.
Canto XXXV. Malyaván's Speech.
Canto XXXVI. Rávan's Reply.
Canto XXXVII. Preparations.
Canto XXXVIII. The Ascent Of Suvela.
Canto XXXIX. Lanká.
Canto XL. Rávan Attacked.
Canto XLI. Ráma's Envoy.
Canto XLII. The Sally.
Canto XLIII. The Single Combats.
Canto XLIV. The Night.
Canto XLV. Indrajít's Victory.
Canto XLVI. Indrajít's Triumph.
Canto XLVII. Sítá.
Canto XLVIII. Sítá's Lament.
Canto XLIX. Ráma's Lament.
Canto L. The Broken Spell.
Canto LI. Dhúmráksha's Sally.
Canto LII. Dhúmráksha's Death.
Canto LIII. Vajradanshtra's Sally.
Canto LIV. Vajradanshtra's Death.
[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.]
Canto LIX. Rávan's Sally.
Canto LX. Kumbhakarna Roused.
Canto LXI. The Vánars' Alarm.
Canto LXII. Rávan's Request.
Canto LXIII. Kumbhakarna's Boast.
Canto LXIV. Mahodar's Speech.
Canto LXV. Kumbhakarna's Speech.
Canto LXVI. Kumbhakarna's Sally.
Canto LXVII. Kumbhakarna's Death.
Canto LXVIII. Rávan's Lament.
Canto LXIX. Narántak's Death.
Canto LXX. The Death Of Trisirás.
Canto LXXI. Atikáya's Death.
Canto LXXII. Rávan's Speech.
Canto LXXIII. Indrajít's Victory.
Canto LXXIV. The Medicinal Herbs.
Canto LXXV. The Night Attack.
[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.]
Canto XCIII. Rávan's Lament.
[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.]
Canto XCVI. Rávan's Sally.
[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.]
Canto C. Rávan In The Field.
Canto CI. Lakshman's Fall.
Canto CII. Lakshman Healed.
Canto CIII. Indra's Car.
[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.]
Canto CVI. Glory To The Sun.
[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.]
Canto CVIII. The Battle.
Canto CIX. The Battle.
Canto CX. Rávan's Death.
Canto CXI. Vibhishan's Lament.
Canto CXII. The Rákshas Dames.
Canto CXIII. Mandodarí's Lament.
Canto CXIV. Vibhishan Consecrated.
Canto CXV. Sítá's Joy.
Canto CXVI. The Meeting.
Canto CXVII. Sítá's Disgrace.
Canto CXVIII. Sítá's Reply.
Canto CXIX. Glory To Vishnu.
Canto CXX. Sítá Restored.
Canto CXXI. Dasaratha.
Canto CXXII. Indra's Boon.
Canto CXXIII. The Magic Car.
Canto CXXIV. The Departure.
Canto CXXV. The Return.
Canto CXXVI. Bharat Consoled.
Canto CXXVII. Ráma's Message.
Canto CXXVIII. Hanumán's Story.
Canto CXXIX. The Meeting With Bharat.
Canto CXXX. The Consecration.
APPENDIX.
Section XIII. Rávan Doomed.
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.
Caput XIV. RATIO NECANDI RAVANAE EXCOGITATA.
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.
Caput XIV. IL MEZZO STABILITO PER UCCIDERE RÁVANO.
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.
XIV.
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.
Uttarakánda.
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
ADDITIONAL NOTES.
Queen Fortune.
“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.
Indra.
“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.
Vishnu.
“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.
Siva.
“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.
Apsarases.
“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.
Vishnu's Incarnation As Ráma.
“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.
Kusa and Lava.
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.
Parasuráma, Page 87.
“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.
Yáma, Page 68.
Son of Vivasvat=Jima son of Vivanghvat, the Jamshíd of the later Persians.
Fate, Page 68.
“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.
Visvámitra, Page 76.
“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.
Household Gods, Page 102.
“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.
Page 107.
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.
Page 108.
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.”
Page 109.
“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.
Page 110.
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.
Page 120.
All the wives of the king his father are regarded and spoken of by Ráma as his mothers.
Page 125.
“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.
Page 125.
The Moly of Homer, which Dierbach considers to have been the Mandrake, is probably a corruption of the Sanskrit Múla a root.
Page 136.
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.
Page 152.
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.
Page 157.
Paradise Lost, Book IX.
Page 161.
The rites performed in India on the completion of a house are represented in modern Europe by the familiar “house-warming.”
Page 169.
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.
Page 174. The Praise Of Kings
“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.
Page 176. Sálmalí.
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.
Page 178. Bharat's Return.
“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.
Page 183.
“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.
Page 203.
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.
Page 219.
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.
Page 249.
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.
Page 250.
“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.
Page 257.
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.
Page 286. Urvasí.
“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.
Page 324.
“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.
Page 326.
Somewhat similarly in The Squire's Tale:
Page 329. Ráma's Alliance With Sugríva.
“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.
Page 342. The Fall Of Báli.
“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.
Page 370. The Vánar Host.
“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.
Page 372.
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.”
Page 374.
“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
Page 378. Northern Kurus.
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.
Page 428.
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.”
Page 431.
All these exploits of Rávaṇ are detailed in the Uttarakáṇḍa, and epitomized in the Appendix.
Page 434.
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.
Page 436.
“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.
Page 452.
“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.
Page 462.
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.
Page 466.
“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.”
Page 470.
“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.
Page 497.
“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.
Page 489.
“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.
Page 489.
“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.
Page 492. Rávan's Funeral.
“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].”
Page 496.
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.”
Page 503. The Meeting.
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:
Final Notes.
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.”
INDEX OF PRINCIPAL NAMES
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.
Footnotes
1.The MSS. vary very considerably in these stanzas of invocation: many lines are generally prefixed in which not only the poet, but those who play the chief parts in the poem are panegyrized. It is self-apparent that they are not by the author of the Rámáyan himself.2.“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.
3.Literally, Kokila, the Koïl, or Indian Cuckoo. Schlegel translates “luscinium.”4.Comparison with the Ganges is implied, that river being called the purifier of the world.5.“This name may have been given to the father of Válmíki allegorically. If we look at the derivation of the word (pra, before, and chetas, mind) it is as if the poet were called the son of Prometheus, the Forethinker.” Schlegel.6.Called in Sanskrit also Bála-Káṇḍa, and in Hindí Bál-Káṇḍ, i.e. the Book describing Ráma's childhood, bála meaning a boy up to his sixteenth year.7.A divine saint, son of Brahmá. He is the eloquent messenger of the Gods, a musician of exquisite skill, and the inventor of the víṇá or Indian lute. He bears a strong resemblance to Hermes or Mercury.8.This mystic syllable, said to typify the supreme Deity, the Gods collectively, the Vedas, the three spheres of the world, the three holy fires, the three steps of Vishṇu etc., prefaces the prayers and most venerated writings of the Hindus.9.This colloquy is supposed to have taken place about sixteen years after Ráma's return from his wanderings and occupation of his ancestral throne.10.Called also Śrí and Lakshmí, the consort of Vishṇu, the Queen of Beauty as well as the Dea Fortuna. Her birth “from the full-flushed wave” is described in Canto XLV of this Book.11.One of the most prominent objects of worship in the Rig-veda, Indra was superseded in later times by the more popular deities Vishṇu and Śiva. He is the God of the firmament, and answers in many respects to the Jupiter Pluvius of the Romans. See Additional Notes.12.The second God of the Trimúrti or Indian Trinity. Derived from the root viś to penetrate, the meaning of the name appears to be he who penetrates or pervades all things. An embodiment of the preserving power of nature, he is worshipped as a Saviour who has nine times been incarnate for the good of the world and will descend on earth once more. See Additional Notes and Muir's Sanskrit Texts passim.13.In Sanskrit devarshi. Rishi is the general appellation of sages, and another word is frequently prefixed to distinguish the degrees. A Brahmarshi is a theologian or Bráhmanical sage; a Rájarshi is a royal sage or sainted king; a Devarshi is a divine or deified sage or saint.14.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.
15.Son of Manu, the first king of Kośala and founder of the solar dynasty or family of the Children of the Sun, the God of that luminary being the father of Manu.16.The Indians paid great attention to the art of physiognomy and believed that character and fortune could be foretold not from the face only but from marks upon the neck and hands. Three lines under the chin like those at the mouth of a conch (Śańkha) were regarded as a peculiarly auspicious sign indicating, as did also the mark of Vishṇu's discus on the hand, one born to be a chakravartin or universal emperor. In the palmistry of Europe the line of fortune, as well as the line of life, is in the hand. Cardan says that marks on the nails and teeth also show what is to happen to us: “Sunt etiam in nobis vestigia quædam futurorum eventuum in unguibus atque etiam in dentibus.” Though the palmy days of Indian chiromancy have passed away, the art is still to some extent studied and believed in.17.Long arms were regarded as a sign of heroic strength.18.“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.
19.As with the ancient Persians and Scythians, Indian princes were carefully instructed in archery which stands for military science in general, of which, among Hindu heroes, it was the most important branch.20.Chief of the three queens of Daśaratha and mother of Ráma.21.From hima snow, (Greek χειμ-ών, Latin hiems) and álaya abode, the Mansion of snow.22.The moon (Soma, Indu, Chandra etc.) is masculine with the Indians as with the Germans.23.Kuvera, the Indian Plutus, or God of Wealth.24.The events here briefly mentioned will be related fully in the course of the poem. The first four cantos are introductory, and are evidently the work of a later hand than Valmiki's.25.“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.
38.Ocean personified.39.The rocks lying between Ceylon and the mainland are still called Ráma's Bridge by the Hindus.40.“The Bráhmans, with a system rather cosmogonical than chronological, divide the present mundane period into four ages or yugas as they call them: the Krita, the Tretá, the Dwápara, and the Kali. The Krita, called also the Deva-yuga or that of the Gods, is the age of truth, the perfect age, the Tretá is the age of the three sacred fires, domestic and sacrificial; the Dwápara is the age of doubt; the Kali, the present age, is the age of evil.” Gorresio.41.The ancient kings of India enjoyed lives of more than patriarchal length as will appear in the course of the poem.42.Śúdras, men of the fourth and lowest pure caste, were not allowed to read the poem, but might hear it recited.43.The three ślokes or distichs which these twelve lines represent are evidently a still later and very awkward addition to the introduction.44.There are several rivers in India of this name, now corrupted into Tonse. The river here spoken of is that which falls into the Ganges a little below Allahabad.45.“In Book II, Canto LIV, we meet with a saint of this name presiding over a convent of disciples in his hermitage at the confluence of the Ganges and the Jumna. Thence the later author of these introductory cantos has borrowed the name and person, inconsistently indeed, but with the intention of enhancing the dignity of the poet by ascribing to him so celebrated a disciple.” Schlegel.46.The poet plays upon the similarity in sound of the two words: śoka, means grief, śloka, the heroic measure in which the poem is composed. It need scarcely be said that the derivation is fanciful.47.Brahmá, the Creator, is usually regarded as the first person of the divine triad of India. The four heads with which he is represented are supposed to have allusion to the four corners of the earth which he is sometimes considered to personify. As an object of adoration Brahmá has been entirely superseded by Śiva and Vishṇu. In the whole of India there is, I believe, but one temple dedicated to his worship. In this point the first of the Indian triad curiously resembles the last of the divine fraternity of Greece, Aïdes the brother of Zeus and Poseidon. “In all Greece, says Pausanias, there is no single temple of Aïdes, except at a single spot in Elis.” See Gladstone's Juventus Mundi, p. 253.48.The argha or arghya was a libation or offering to a deity, a Bráhman, or other venerable personage. According to one authority it consisted of water, milk, the points of Kúsa-grass, curds, clarified butter, rice, barley, and white mustard, according to another, of saffron, bel, unbroken grain, flowers, curds, dúrbá-grass, kúsa-grass, and sesamum.49.Sítá, daughter of Janak king of Míthilá.50.“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.
65.The Sál (Shorea Robusta) is a valuable timber tree of considerable height.66.The city of Indra is called Amarávatí or Home of the Immortals.67.Schlegel thinks that this refers to the marble of different colours with which the houses were adorned. It seems more natural to understand it as implying the regularity of the streets and houses.68.The Śataghní i.e. centicide, or slayer of a hundred, is generally supposed to be a sort of fire-arms, or the ancient Indian rocket; but it is also described as a stone set round with iron spikes.69.The Nágas (serpents) are demigods with a human face and serpent body. They inhabit Pátála or the regions under the earth. Bhogavatí is the name of their capital city. Serpents are still worshipped in India. See Fergusson's Tree and Serpent Worship.70.The fourth and lowest pure caste whose duty was to serve the three first classes.71.By forbidden marriages between persons of different castes.72.Váhlí or Váhlíka is Bactriana; its name is preserved in the modern Balkh.73.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.
74.The situation of Vanáyu is not exactly determined: it seems to have lain to the north-west of India.75.Kámboja was probably still further to the north-west. Lassen thinks that the name is etymologically connected with Cambyses which in the cuneiform inscription of Behistun is written Ka(m)bujia.76.The elephants of Indra and other deities who preside over the four points of the compass.77.“There are four kinds of elephants. 1 Bhaddar. It is well proportioned, has an erect head, a broad chest, large ears, a long tail, and is bold and can bear fatigue. 2 Mand. It is black, has yellow eyes, a uniformly sized body, and is wild and ungovernable. 3 Mirg. It has a whitish skin, with black spots. 4 Mir. It has a small head, and obeys readily. It gets frightened when it thunders.” Aín-i-Akbarí.. Translated by H. Blochmann, Aín 41, The Imperial Elephant Stables.78.Ayodhyá means not to be fought against.79.Attendants of Indra, eight Gods whose names signify fire, light and its phenomena.80.Kaśyap was a grandson of the God Brahmá. He is supposed to have given his name to Kashmír = Kaśyapa-míra, Kaśyap's Lake.81.The people of Anga. “Anga is said in the lexicons to be Bengal; but here certainly another region is intended situated at the confluence of the Sarjú with the Ganges, and not far distant from Daśaratha's dominions.” Gorresio. It comprised part of Behar and Bhagulpur.82.The Koïl or kokila (Cuculus Indicus) as the harbinger of spring and love is a universal favourite with Indian poets. His voice when first heard in a glorious spring morning is not unpleasant, but becomes in the hot season intolerably wearisome to European ears.83.“Sons and Paradise are intimately connected in Indian belief. A man desires above every thing to have a son to perpetuate his race, and to assist with sacrifices and funeral rites to make him worthy to obtain a lofty seat in heaven or to preserve that which he has already obtained.” Gorresio.84.One of the Pleiades and generally regarded as the model of wifely excellence.85.The Hindu year is divided into six seasons of two months each, spring, summer, rains, autumn, winter, and dews.86.It was essential that the horse should wander free for a year before immolation, as a sign that his master's paramount sovereignty was acknowledged by all neighbouring princes.87.Called also Vidcha, later Tirabhukti, corrupted into the modern Tirhut, a province bounded on the west and east by the Gaudakí and Kauśikí rivers, on the south by the Ganges, and on the north by the skirts of the Himálayas.88.The celebrated city of Benares. See Dr. Hall's learned and exhaustive Monograph in the Sacred City of the Hindus, by the Rev. M. A. Sherring.89.Kekaya is supposed to have been in the Panjáb. The name of the king was Aśvapati (Lord of Horses), father of Daśaratha's wife Kaikeyí.90.Surat.91.Apparently in the west of India not far from the Indus.92.“The Pravargya ceremony lasts for three days, and is always performed twice a day, in the forenoon and afternoon. It precedes the animal and Soma sacrifices. For without having undergone it, no one is allowed to take part in the solemn Soma feast prepared for the gods.” Haug's Aitareya Bráhmaṇam. Vol. II. p. 41. note q.v.93.Upasads. “The Gods said, Let us perform the burnt offerings called Upasads (i.e. besieging). For by means of an Upasad, i.e. besieging, they conquer a large (fortified) town.”—Ibid. p. 32.94.The Soma plant, or Asclepias Acida. Its fermented juice was drunk in sacrifice by the priests and offered to the Gods who enjoyed the intoxicating draught.95.“Tum in cærimoniarum intervallis Brachmanæ facundi, sollertes, crebros sermones de rerum causis instituebant, alter alterum vincendi cupidi. This public disputation in the assembly of Bráhmans on the nature of things, and the almost fraternal connexion between theology and philosophy deserves some notice; whereas the priests of some religions are generally but little inclined to show favour to philosophers, nay, sometimes persecute them with the most rancorous hatred, as we are taught both by history and experience.… This śloka is found in the MSS. of different recensions of the Rámáyan, and we have, therefore, the most trustworthy testimony to the antiquity of philosophy among the Indians.” Schlegel.96.The Angas or appendices of the Vedas, pronunciation, prosody, grammar, ritual, astronomy, and explanation of obscurities.97.In Sanskrit vilva, the Ægle Marmelos. “He who desires food and wishes to grow fat, ought to make his Yúpa (sacrificial post) of Bilva wood.” Haug's Aítareya Bráhmanam. Vol. II. p. 73.98.The Mimosa Catechu. “He who desires heaven ought to make his Yúpa of Khádira wood.”—Ibid.99.The Butea Frondosa. “He who desires beauty and sacred knowledge ought to make his Yúpa of Paláśa wood.”—Ibid.100.The Cardia Latifolia.101.A kind of pine. The word means literally the tree of the Gods. Compare the Hebrew עצי יהוה “trees of the Lord.”102.The Hindus call the constellation of Ursa Major the Seven Rishis or Saints.103.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.
104.“Four classes of priests were required in India at the most solemn sacrifices. 1. The officiating priests, manual labourers, and acolytes, who had chiefly to prepare the sacrificial ground, to dress the altar, slay the victims, and pour out the libations. 2. The choristers, who chant the sacred hymns. 3. The reciters or readers, who repeat certain hymns. 4. The overseers or bishops, who watch and superintend the proceedings of the other priests, and ought to be familiar with all the Vedas. The formulas and verses to be muttered by the first class are contained in the Yajur-veda-sanhitá. The hymns to be sung by the second class are in the Sama-veda-sanhitá. The Atharva-veda is said to be intended for the Brahman or overseer, who is to watch the proceedings of the sacrifice, and to remedy any mistake that may occur. The hymns to be recited by the third class are contained in the Rigveda,” Chips from a German Workshop.105.The Maruts are the winds, deified in the religion of the Veda like other mighty powers and phenomena of nature.106.A Titan or fiend whose destruction has given Vishṇu one of his well-known titles, Mádhava.107.The garden of Indra.108.One of the most ancient and popular of the numerous names of Vishṇu. The word has been derived in several ways, and may mean he who moved on the (primordial) waters, or he who pervades or influences men or their thoughts.109.The Horse-Sacrifice, just described.110.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.
111.The Amrit, the nectar of the Indian Gods.112.Gandharvas (Southey's Glendoveers) are celestial musicians inhabiting Indra's heaven and forming the orchestra at all the banquets of the principal deities.113.Yakshas, demigods attendant especially on Kuvera, and employed by him in the care of his garden and treasures.114.Kimpurushas, demigods attached also to the service of Kuvera, celestial musicians, represented like centaurs reversed with human figures and horses' heads.115.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.”
116.A mountain in the south of India.117.The preceptor of the Gods and regent of the planet Jupiter.118.The celestial architect, the Indian Hephæstus, Mulciber, or Vulcan.119.The God of Fire.120.Twin children of the Sun, the physicians of Swarga or Indra's heaven.121.The deity of the waters.122.Parjanya, sometimes confounded with Indra.123.The bird and vehicle of Vishṇu. He is generally represented as a being something between a man and a bird and considered as the sovereign of the feathered race. He may be compared with the Simurgh of the Persians, the 'Anká of the Arabs, the Griffin of chivalry, the Phœnix of Egypt, and the bird that sits upon the ash Yggdrasil of the Edda.124.This Canto will appear ridiculous to the European reader. But it should be remembered that the monkeys of an Indian forest, the “bough-deer” as the poets call them, are very different animals from the “turpissima bestia” that accompanies the itinerant organ-grinder or grins in the Zoological Gardens of London. Milton has made his hero, Satan, assume the forms of a cormorant, a toad, and a serpent, and I cannot see that this creation of semi-divine Vánars, or monkeys, is more ridiculous or undignified.125.The consort of Indra, called also Śachí and Indráṇí.126.The Michelia champaca. It bears a scented yellow blossom:
Lallah Rookh.
127.Vibháṇdak, the father of Rishyaśring128.A hemiśloka is wanting in Schlegel's text, which he thus fills up in his Latin translation.129.Rishyaśring, a Bráhman, had married Śántá who was of the Kshatriya or Warrior caste and an expiatory ceremony was necessary on account of this violation of the law.130.“The poet no doubt intended to indicate the vernal equinox as the birthday of Ráma. For the month Chaitra is the first of the two months assigned to the spring; it corresponds with the latter half of March and the former half of April in our division of the year. Aditi, the mother of the Gods, is lady of the seventh lunar mansion which is called Punarvasu. The five planets and their positions in the Zodiac are thus enumerated by both commentators: the Sun in Aries, Mars in Capricorn, Saturn in Libra, Jupiter in Cancer, Venus in Pisces.… I leave to astronomers to examine whether the parts of the description agree with one another, and, if this be the case, thence to deduce the date. The Indians place the nativity of Ráma in the confines of the second age (tretá) and the third (dwápara): but it seems that this should be taken in an allegorical sense.… We may consider that the poet had an eye to the time in which, immediately before his own age, the aspects of the heavenly bodies were such as he has described.” Schlegel.131.The regent of the planet Jupiter.132.Indra = Jupiter Tonans.133.“Pushya is the name of a month; but here it means the eighth mansion. The ninth is called Asleshá, or the snake. It is evident from this that Bharat, though his birth is mentioned before that of the twins, was the youngest of the four brothers and Ráma's junior by eleven months.” Schlegel.134.A fish, the Zodiacal sign Pisces.135.One of the constellations, containing stars in the wing of Pegasus.136.Ráma means the Delight (of the World); Bharat, the Supporter; Lakshmaṇ, the Auspicious; Śatrughna, the Slayer of Foes.137.Schlegel, in the Indische Bibliothek, remarks that the proficiency of the Indians in this art early attracted the attention of Alexander's successors, and natives of India were so long exclusively employed in this service that the name Indian was applied to any elephant-driver, to whatever country he might belong.138.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).
139.The son of Kuśik is Viśvámitra.140.At the recollection of their former enmity, to be described hereafter.141.The Indian nectar or drink of the Gods.142.Great joy, according to the Hindu belief, has this effect, not causing each particular hair to stand on end, but gently raising all the down upon the body.143.The Rákshasas, giants, or fiends who are represented as disturbing the sacrifice, signify here, as often elsewhere, merely the savage tribes which placed themselves in hostile opposition to Bráhmanical institutions.144.Consisting of horse, foot, chariots, and elephants.145.“The Gandharvas, or heavenly bards, had originally a warlike character but were afterwards reduced to the office of celestial musicians cheering the banquets of the Gods. Dr. Kuhn has shown their identity with the Centaurs in name, origin and attributes.” Gorresio.146.These mysterious animated weapons are enumerated in Cantos XXIX and XXX. Daksha was the son of Brahmá and one of the Prajápatis, Demiurgi, or secondary authors of creation.147.Youths of the Kshatriya class used to leave unshorn the side locks of their hair. These were called Káka-paksha, or raven's wings.148.The Rákshas or giant Rávaṇ, king of Lanká.149.“The meaning of Aśvins (from aśva a horse, Persian asp, Greek ἵππος, Latin equus, Welsh ech) is Horsemen. They were twin deities of whom frequent mention is made in the Vedas and the Indian myths. The Aśvins have much in common with the Dioscuri of Greece, and their mythical genealogy seems to indicate that their origin was astronomical. They were, perhaps, at first the morning star and evening star. They are said to be the children of the sun and the nymph Aśviní, who is one of the lunar asterisms personified. In the popular mythology they are regarded as the physicians of the Gods.” Gorresio.150.The word Kumára (a young prince, a Childe) is also a proper name of Skanda or Kártikeya God of War, the son of Śiva and Umá. The babe was matured in the fire.151.“At the rising of the sun as well as at noon certain observances, invocations, and prayers were prescribed which might under no circumstances be omitted. One of these observances was the recitation of the Sávitrí, a Vedic hymn to the Sun of wonderful beauty.” Gorresio.152.Tripathaga, Three-path-go, flowing in heaven, on earth, and under the earth. See Canto XLV.153.Tennyson's “Indian Cama,” the God of Love, known also by many other names.154.Umá, or Parvatí, was daughter of Himálaya, Monarch of mountains, and wife of Śiva. See Kálidasa's Kumára Sambhava, or Birth of the War-God.155.Stháṇu. The Unmoving one, a name of Śiva.156.“The practice of austerities, voluntary tortures, and mortifications was anciently universal in India, and was held by the Indians to be of immense efficacy. Hence they mortified themselves to expiate sins, to acquire merits, and to obtain superhuman gifts and powers; the Gods themselves sometimes exercised themselves in such austerities, either to raise themselves to greater power and grandeur, or to counteract the austerities of man which threatened to prevail over them and to deprive them of heaven.… Such austerities were called in India tapas (burning ardour, fervent devotion) and he who practised them tapasvin.” Gorresio.157.The Bodiless one.158.“A celebrated lake regarded in India as sacred. It lies in the lofty region between the northern highlands of the Himálayas and mount Kailása, the region of the sacred lakes. The poem, following the popular Indian belief, makes the river Sarayú (now Sarjú) flow from the Mánasa lake; the sources of the river are a little to the south about a day's journey from the lake. See Lassen, Indische Alterthumshunde, page 34.” Gorresio. Manas means mind; mánasa, mental, mind-born.159.Sarovar means best of lakes. This is another of the poet's fanciful etymologies.160.The confluence of two or more rivers is often a venerated and holy place. The most famous is Prayág or Allahabad, where the Sarasvatí by an underground course is believed to join the Jumna and the Ganges.161.The botanical names of the trees mentioned in the text are Grislea Tormentosa, Shorea Robusta, Echites Antidysenterica, Bignonia Suaveolens, Œgle Marmelos, and Diospyrus Glutinosa. I have omitted the Kutaja (Echites) and the Tiṇḍuka (Diospyrus).162.Here we meet with a fresh myth to account for the name of these regions. Malaja is probably a non-Aryan word signifying a hilly country: taken as a Sanskrit compound it means sprung from defilement. The word Karúsha appears to have a somewhat similar meaning.163.“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.
164.The famous pleasure-garden of Kuvera the God of Wealth.165.“The whole of this Canto together with the following one, regards the belief, formerly prevalent in India, that by virtue of certain spells, to be learnt and muttered, secret knowledge and superhuman powers might be acquired. To this the poet has already alluded in Canto xxiii. These incorporeal weapons are partly represented according to the fashion of those ascribed to the Gods and the different orders of demi-gods, partly are the mere creations of fancy; and it would not be easy to say what idea the poet had of them in his own mind, or what powers he meant to assign to each.” Schlegel.166.“In Sanskrit Sankára, a word which has various significations but the primary meaning of which is the act of seizing. A magical power seems to be implied of employing the weapons when and where required. The remarks I have made on the preceding Canto apply with still greater force to this. The MSS. greatly vary in the enumeration of these Sankáras, and it is not surprising that copyists have incorrectly written the names which they did not well understand. The commentators throw no light upon the subject.” Schlegel. I have taken the liberty of omitting four of these which Schlegel translates “Scleromphalum, Euomphalum, Centiventrem, and Chrysomphalum.”167.I omit, after this line, eight ślokes which, as Schlegel allows, are quite out of place.168.This is the fifth of the avatárs, descents or incarnations of Vishṇu.169.This is a solar allegory. Vishṇu is the sun, the three steps being his rising, culmination, and setting.170.Certain ceremonies preliminary to a sacrifice.171.A river which rises in Budelcund and falls into the Ganges near Patna. It is called also Hiraṇyaráhu, Golden-armed, and Hiraṇyaráha, Auriferous.172.The modern Berar.173.According to the Bengal recension the first (Kuśámba) is called Kuśáśva, and his city Kauśáśví. This name does not occur elsewhere. The reading of the northern recension is confirmed by Foê Kouê Ki; p. 385, where the city Kiaoshangmi is mentioned. It lay 500 lis to the south-west of Prayága, on the south bank of the Jumna. Mahodaya is another name of Kanyakubja: Dharmáraṇya, the wood to which the God of Justice is said to have fled through fear of Soma the Moon-God was in Magadh. Girivraja was in the same neighbourhood. See Lasson's I, A. Vol. I. p. 604.174.That is, the City of the Bent Virgins, the modern Kanauj or Canouge.175.Literally, Given by Brahma or devout contemplation.176.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.
177.One of the names of the Ganges considered as the daughter of Jahnu. See Canto XLIV.178.The Indian Crane.179.Or, rather, geese.180.A name of the God Śiva.181.Garuḍa.182.Ikshváku, the name of a king of Ayodhyá who is regarded as the founder of the Solar race, means also a gourd. Hence, perhaps, the myth.183.“The region here spoken of is called in the Laws of Manu Madhyadeśa or the middle region. ‘The region situated between the Himálaya and the Vindhya Mountains … is called Madhyadeśa, or the middle region; the space comprised between these two mountains from the eastern to the western sea is called by sages Áryávartta, the seat of honourable men.’ (Manu, II, 21, 22.) The Sanskrit Indians called themselves Áryans, which means honourable, noble, to distinguish themselves from the surrounding nations of different origin.” Gorresio.184.Said to be so called from the Jambu, or Rose Apple, abounding in it, and signifying according to the Puránas the central division of the world, the known world.185.Here used as a name of Vishṇu.186.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.
187.The thirty-three Gods are said in the Aitareya Bráhmaṇa, Book I. ch. II. 10. to be the eight Vasus, the eleven Rudras, the twelve Ádityas, Prajápati, either Brahmá or Daksha, and Vashatkára or deified oblation. This must have been the actual number at the beginning of the Vedic religion gradually increased by successive mythical and religious creations till the Indian Pantheon was crowded with abstractions of every kind. Through the reverence with which the words of the Veda were regarded, the immense host of multiplied divinities, in later times, still bore the name of the Thirty-three Gods.188.“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.
189.“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.
190.Vishṇu.191.“It appears to me that this mythical story has reference to the volcanic phenomena of nature. Kapil may very possibly be that hidden fiery force which suddenly unprisons itself and bursts forth in volcanic effects. Kapil is, moreover, one of the names of Agni the God of Fire.” Gorresio.192.Garuḍ was the son of Kaśyap and Vinatá.193.Garuḍ.194.A famous and venerated region near the Malabar coast.195.That is four fires and the sun.196.Heaven.197.Wind-Gods.198.Śiva.199.The lake Vindu does not exist. Of the seven rivers here mentioned two only, the Ganges and the Sindhu or Indus, are known to geographers. Hládiní means the Gladdener, Pávaní the Purifier, Naliní the Lotus-Clad, and Suchakshu the Fair-eyed.200.The First or Golden Age.201.Diti and Aditi were wives of Kaśyap, and mothers respectively of Titans and Gods.202.One of the seven seas surrounding as many worlds in concentric rings.203.Śankar and Rudra are names of Śiva.204.“Śárṅgin, literally carrying a bow of horn, is a constantly recurring name of Vishṇu. The Indians also, therefore, knew the art of making bows out of the hons of antelopes or wild goats, which Homer ascribes to the Trojans of the heroic age.” Schlegel.205.Dhanvantari, the physician of the Gods.206.The poet plays upon the word and fancifully derives it from apsu, the locative case plural of ap, water, and rasa, taste.… The word is probably derived from ap, water, and sri, to go, and seems to signify inhabitants of the water, nymphs of the stream; or, as Goldstücker thinks (Dict. s.v.) these divinities were originally personifications of the vapours which are attracted by the sun and form into mist or clouds.207.“Surá, in the feminine comprehends all sorts of intoxicating liquors, many kinds of which the Indians from the earliest times distilled and prepared from rice, sugar-cane, the palm tree, and various flowers and plants. Nothing is considered more disgraceful among orthodox Hindus than drunkenness, and the use of wine is forbidden not only to Bráhmans but the two other orders as well.… So it clearly appears derogatory to the dignity of the Gods to have received a nymph so pernicious, who ought rather to have been made over to the Titans. However the etymological fancy has prevailed. The word Sura, a God, is derived from the indeclinable Swar heaven.” Schlegel.208.Literally, high-eared, the horse of Indra. Compare the production of the horse from the sea by Neptune.209.Churning of the Ocean.
210.“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.
211.Purandhar, a common title of Indra.212.A few verses are here left untranslated on account of the subject and language being offensive to modern taste.213.“In this myth of Indra destroying the unborn fruit of Diti with his thunderbolt, from which afterwards came the Maruts or Gods of Wind and Storm, geological phenomena are, it seems, represented under mythical images. In the great Mother of the Gods is, perhaps, figured the dry earth: Indra the God of thunder rends it open, and there issue from its rent bosom the Maruts or exhalations of the earth. But such ancient myths are difficult to interpret with absolute certainty.” Gorresio.214.Wind.215.Indra, with mahá, great, prefixed.216.The Heavenly Twins.217.Not banished from heaven as the inferior Gods and demigods sometimes were.218.Kumárila says: “In the same manner, if it is said that Indra was the seducer of Ahalyá this does not imply that the God Indra committed such a crime, but Indra means the sun, and Ahalyá (from ahan and lí) the night; and as the night is seduced and ruined by the sun of the morning, therefore is Indra called the paramour of Ahalyá.” Max Muller, History of Ancient Sanskrit Literature, p. 530.219.“The preceding sixteen lines have occurred before in Canto XLVIII. This Homeric custom of repeating a passage of several lines is strange to our poet. This is the only instance I remember. The repetition of single lines is common enough.” Schlegel.220.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.
227.See page 13, note 6.228.Barbarians, non-Sanskrit-speaking tribes.229.A comprehensive term for foreign or outcast races of different faith and language from the Hindus.230.The Kirátas and Hárítas are savage aborigines of India who occupy hills and jungles and are altogether different in race and character from the Hindus. Dr. Muir remarks in his Sanskrit Texts, Vol. I. p. 488 (second edition) that it does not appear that it is the object of this legend to represent this miraculous creation as the origin of these tribes, and that nothing more may have been intended than that the cow called into existence large armies, of the same stock with particular tribes previously existing.231.The Great God, Śiva.232.Nandi, the snow-white bull, the attendant and favourite vehicle of Śiva.233.“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.
234.“Triśanku, king of Ayodhyá, was seventh in descent from Ikshváku, and Daśaratha holds the thirty-fourth place in the same genealogy. See Canto LXX. We are thrown back, therefore, to very ancient times, and it occasions some surprise to find Vaśishṭha and Viśvámitra, actors in these occurences, still alive in Rama's time.”235.“It does not appear how Triśanku, in asking the aid of Vaśishṭha's sons after applying in vain to their father, could be charged with resorting to another śákhá (School) in the ordinary sense of that word; as it is not conceivable that the sons should have been of another Śákhá from the father, whose cause they espouse with so much warmth. The commentator in the Bombay edition explains the word Śákhantaram as Yájanádiná rakshántaram, ‘one who by sacrificing for thee, etc., will be another protector.’ Gorresio's Gauḍa text, which may often be used as a commentary on the older one, has the following paraphrase of the words in question, ch. 60, 3. Múlam utsṛijya kasmát tvam sákhásv ichhasi lambitum. ‘Why, forsaking the root, dost thou desire to hang upon the branches?’ ” Muir, Sanskrit Texts, Vol. I., p. 401.236.A Chaṇḍála was a man born of the illegal and impure union of a Śúdra with a woman of one of the three higher castes.237.“The Chaṇḍála was regarded as the vilest and most abject of the men sprung from wedlock forbidden by the law (Mánavadharmaśástra, Lib. X. 12.); a kind of social malediction weighed upon his head and rejected him from human society.” Gorresio.238.This appellation, occuring nowhere else in the poem except as the name of a city, appears twice in this Canto as a name of Vaśishṭha.239.“The seven ancient rishis or saints, as has been said before, were the seven stars of Ursa Major. The seven other new saints which are here said to have been created by Viśvámitra should be seven new southern stars, a sort of new Ursa. Von Schlegel thinks that this mythical fiction of new stars created by Viśvámitra may signify that these southern stars, unknown to the Indians as long as they remained in the neighbourhood of the Ganges, became known to them at a later date when they colonized the southern regions of India.” Gorresio.240.“This cannot refer to the events just related: for Viśvámitra was successful in the sacrifice performed for Triśanku. And yet no other impediment is mentioned. Still his restless mind would not allow him to remain longer in the same spot. So the character of Viśvámitra is ingeniously and skilfully shadowed forth: as he had been formerly a most warlike king, loving battle and glory, bold, active, sometimes unjust, and more frequently magnanimous, such also he always shows himself in his character of anchorite and ascetic.” Schlegel.241.Near the modern city of Ajmere. The place is sacred still, and the name is preserved in the Hindí. Lassen, however, says that this Pushkala or Pushkara, called by the Grecian writers Πευκελίτις, the earliest place of pilgrimage mentioned by name, is not to be confounded with the modern Pushkara in Ajmere.242.“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.
243.The Indian Cupid.244.“The same as she whose praises Viśvámitra has already sung in Canto XXXV, and whom the poet brings yet alive upon the scene in Canto LXI. Her proper name was Satyavatí (Truthful); the patronymic, Kauśikí was preserved by the river into which she is said to have been changed, and is still recognized in the corrupted forms Kuśa and Kuśí. The river flows from the heights of the Himálaya towards the Ganges, bounding on the east the country of Videha (Behar). The name is no doubt half hidden in the Cosoagus of Pliny and the Kossounos of Arrian. But each author has fallen into the same error in his enumeration of these rivers (Condochatem, Erannoboam, Cosoagum, Sonum). The Erannoboas, (Hiraṇyaváha) and the Sone are not different streams, but well-known names of the same river. Moreover the order is disturbed, in which on the right and left they fall into the Ganges. To be consistent with geography it should be written: Erannoboam sive Sonum, Condochatem (Gandakí), Cosoagum.” Schlegel.245.“Daksha was one of the ancient Progenitors or Prajápatis created by Brahmá. The sacrifice which is here spoken of and in which Śankar or Śiva (called also here Rudra and Bhava) smote the Gods because he had not been invited to share the sacred oblations with them, seems to refer to the origin of the worship of Śiva, to its increase and to the struggle it maintained with other older forms of worship.” Gorresio.246.Sítá means a furrow.
Iliad, Book II.
247.“The whole story of Sítá, as will be seen in the course of the poem has a great analogy with the ancient myth of Proserpine.” Gorresio.248.A different lady from the Goddess of the Jumna who bears the same name.249.This is another fanciful derivation, Sa—with, and gara—poison.250.Purushádak means a cannibal. First called Kalmáshapáda on account of his spotted feet he is said to have been turned into a cannibal for killing the son of Vaśishṭha.251.“In the setting forth of these royal genealogies the Bengal recension varies but slightly from the Northern. The first six names of the genealogy of the Kings of Ayodhyá are partly theogonical and partly cosmogonical; the other names are no doubt in accordance with tradition and deserve the same amount of credence as the ancient traditional genealogies of other nations.” Gorresio.252.The tenth of the lunar asterisms, composed of five stars.253.There are two lunar asterisms of this name, one following the other immediately, forming the eleventh and twelfth of the lunar mansions.254.This is another Ráma, son of Jamadagni, called Paraśuráma, or Ráma with the axe, from the weapon which he carried. He was while he lived the terror of the Warrior caste, and his name recalls long and fierce struggles between the sacerdotal and military order in which the latter suffered severely at the hands of their implacable enemy.255.“The author of the Raghuvaṅśa places the mountain Mahendra in the territory of the king of the Kalingans, whose palace commanded a view of the ocean. It is well known that the country along the coast to the south of the mouths of the Ganges was the seat of this people. Hence it may be suspected that this Mahendra is what Pliny calls ‘promontorium Calingon.’ The modern name, Cape Palmyras, from the palmyras Borassus flabelliformis, which abound there agrees remarkably with the description of the poet who speaks of the groves of these trees. Raghuvaṅśa, VI. 51.” Schlegel.256.Śiva.257.Siva. God of the Azure Neck.258.Śatrughna means slayer of foes, and the word is repeated as an intensive epithet.259.Alluding to the images of Vishṇu, which have four arms, the four princes being portions of the substance of that God.260.Chief of the insignia of imperial dignity.261.Whisks, usually made of the long tails of the Yak.262.Chitraratha, King of the Gandharvas.263.The Chandrakánta or Moonstone, a sort of crystal supposed to be composed of congealed moonbeams.264.A customary mark of respect to a superior.265.Ráhu, the ascending node, is in mythology a demon with the tail of a dragon whose head was severed from his body by Vishṇu, but being immortal, the head and tail retained their separate existence and being transferred to the stellar sphere became the authors of eclipses; the first especially by endeavouring to swallow the sun and moon.266.In eclipse.267.The seventh of the lunar asterisms.268.Kauśalyá and Sumitrá.269.A king of the Lunar race, and father of Yayáti.270.Literally the chamber of wrath, a “growlery,” a small, dark, unfurnished room to which it seems, the wives and ladies of the king betook themselves when offended and sulky.271.In these four lines I do not translate faithfully, and I do not venture to follow Kaikeyí farther in her eulogy of the hump-back's charms.272.These verses are evidently an interpolation. They contain nothing that has not been already related: the words only are altered. As the whole poem could not be recited at once, the rhapsodists at the beginning of a fresh recitation would naturally remind their hearers of the events immediately preceding.273.The śloka or distich which I have been forced to expand into these nine lines is evidently spurious, but is found in all the commented MSS. which Schlegel consulted.274.Manmatha, Mind-disturber, a name of Káma or Love.275.This story is told in the Mahábhárat. A free version of it may be found in Scenes from the Rámáyan, etc.276.Only the highest merit obtains a home in heaven for ever. Minor degrees of merit procure only leases of heavenly mansions terminable after periods proportioned to the fund which buys them. King Yayáti went to heaven and when his term expired was unceremoniously ejected, and thrown down to earth.277.See Additional Notes, The Suppliant Dove.278.Indra, called also Purandara, Town-destroyer.279.Indra's charioteer.280.The elephant of Indra.281.A star in the spike of Virgo: hence the name of the mouth Chaitra or Chait.282.The Rain-God.283.In a former life.284.One of the lunar asterisms, represented as the favourite wife of the Moon. See p. 4, note.285.The Sea.286.The Moon.287.The comparison may to a European reader seem a homely one. But Spenser likens an infuriate woman to a cow “That is berobbed of her youngling dere.” Shakspeare also makes King Henry VI compare himself to the calf's mother that “Runs lowing up and down, Looking the way her harmless young one went.” “Cows,” says De Quincey, “are amongst the gentlest of breathing creatures; none show more passionate tenderness to their young, when deprived of them, and, in short, I am not ashamed to profess a deep love for these gentle creatures.”288.The commentators say that, in a former creation, Ocean grieved his mother and suffered in consequence the pains of hell.289.As described in Book I Canto XL.290.Parasúráma.291.The Sanskrit word hasta signifies both hand, and the trunk of “The beast that bears between his eyes a serpent for a head.”292.See P. 41.293.The first progeny of Brahmá or Brahmá himself.294.These are three names of the Sun.295.See P. 1.296.The saints who form the constellation of Ursa Major.297.The regent of the planet Venus.298.Kuvera.299.Bali, or the presentation of food to all created beings, is one of the five great sacraments of the Hindu religion: it consists in throwing a small parcel of the offering, Ghee, or rice, or the like, into the open air at the back of the house.300.In mythology, a demon slain by Indra.301.Called also Garuḍ, the King of the birds, offspring of Vinatá. See p. 53.302.See P. 56.303.See P. 43.304.The story of Sávitrí, told in the Mahábhárat, has been admirably translated by Rückert, and elegantly epitomized by Mrs. Manning in India, Ancient and Mediæval. There is a free rendering of the story in Idylls from the Sanskrit.305.Fire for sacrificial purposes is produced by the attrition of two pieces of wood.306.Kaikeyí.307.The chapel where the sacred fire used in worship is kept.308.The students and teachers of the Taittiríya portion of the Yajur Veda.309.Two of the divine personages called Prajápatis and Brahmádikas who were first created by Brahmá.310.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.
311.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.
312.Chitraratha, King of the celestial choristers.313.It is said that the bamboo dies after flowering.314.“Thirty centuries have passed since he began this memorable journey. Every step of it is known and is annually traversed by thousands: hero worship is not extinct. What can Faith do! How strong are the ties of religion when entwined with the legends of a country! How many a cart creeps creaking and weary along the road from Ayodhyá to Chitrakúṭ. It is this that gives the Rámáyan a strange interest, the story still lives.” Calcutta Review: Vol. XXIII.315.See p. 72.316.Four stars of the sixteenth lunar asterism.317.In the marriage service.318.The husks and chaff of the rice offered to the Gods.319.An important sacrifice at which seventeen victims were immolated.320.The great pilgrimage to the Himálayas, in order to die there.321.Known to Europeans as the Goomtee.322.A tree, commonly called Ingua.323.Sacrificial posts to which the victims were tied.324.Daughter of Jahnu, a name of the Ganges. See p. 55.325.The Mainá or Gracula religiosa, a favourite cage-bird, easily taught to talk.326.The Jumna.327.The Hindu name of Allahabad.328.The Langúr is a large monkey.329.A mountain said to lie to the east of Meru.330.Another name of the Jumna, daughter of the Sun.331.“We have often looked on that green hill: it is the holiest spot of that sect of the Hindu faith who devote themselves to this incarnation of Vishṇu. The whole neighbourhood is Ráma's country. Every headland has some legend, every cavern is connected with his name; some of the wild fruits are still called Sítáphal, being the reputed food of the exile. Thousands and thousands annually visit the spot, and round the hill is a raised foot-path, on which the devotee, with naked feet, treads full of pious awe.” Calcutta Review, Vol. XXIII.332.Deities of a particular class in which five or ten are enumerated. They are worshipped particularly at the funeral obsequies in honour of deceased progenitors.333.“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.
334.The lines containing this heap of forced metaphors are marked as spurious by Schlegel.335.The southern region is the abode of Yama the Indian Pluto, and of departed spirits.336.The five elements of which the body consists, and to which it returns.337.So dying York cries over the body of Suffolk:
King Henry V, Act IV, 6.
338.Kauśalyá, daughter of the king of another Kośal.339.Rájagriha, or Girivraja was the capital of Aśvapati, Bharat's maternal grandfather.340.The Kekayas or Kaikayas in the Punjab appear amongst the chief nations in the war of the Mahábhárata; their king being a kinsman of Krishṇa.341.Hástinapura was the capital of the kingdom of Kuru, near the modern Delhi.342.The Panchálas occupied the upper part of the Doab.343.“Kurujángala and its inhabitants are frequently mentioned in the Mahábhárata, as in the Ádi-parv. 3789, 4337, et al.” Wilson's Vishṇu Puráṇa, Vol. II. p. 176. Dr. Hall's Note.344.“The Ὁξύματις of Arrian. See As. Res. Vol. XV. p. 420, 421, also Indische Alterthumskunde, Vol. I. p. 602, first footnote.” Wilson's Vishṇu Puráṇa, Vol. I. p. 421. Dr. Hall's Edition. The Ikshumatí was a river in Kurukshetra.345.“The Báhíkas are described in the Mahábhárata, Karṇa Parvan, with some detail, and comprehend the different nations of the Punjab from the Sutlej to the Indus.” Wilson's Vishṇu Puráṇa, Vol. I. p. 167.346.The Beas, Hyphasis, or Bibasis.347.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.
348.“The Śatadrú, ‘the hundred-channeled’—the Zaradrus of Ptolemy, Hesydrus of Pliny—is the Sutlej.” Wilson's Vishṇu Puráṇa, Vol. II. p. 130.349.The Sarasvatí or Sursooty is a tributary of the Caggar or Guggur in Sirhind.350.Súryamcha pratimehatu, adversus solem mingat. An offence expressly forbidden by the Laws of Manu.351.Bharat does not intend these curses for any particular person: he merely wishes to prove his own innocence by invoking them on his own head if he had any share in banishing Ráma.352.The Sáma-veda, the hymns of which are chanted aloud.353.Walking from right to left.354.Birth and death, pleasure and pain, loss and gain.355.Erected upon a tree or high staff in honour of Indra.356.I follow in this stanza the Bombay edition in preference to Schlegel's which gives the tears of joy to the courtiers.357.The commentator says “Śatrughna accompanied by the other sons of the king.”358.Not Bharat's uncle, but some councillor.359.Śatakratu, Lord of a hundred sacrifices, the performance of a hundred Aśvamedhas or sacrifices of a horse entitling the sacrificer to this exalted dignity.360.The modern Malabar.361.Now Sungroor, in the Allahabad district.362.Ráma, Lakshmaṇ, and Sumantra.363.The svastika, a little cross with a transverse line at each extremity.364.When an army marched it was customary to burn the huts in which it had spent the night.365.Yáma, Varuṇa, and Kuvera.366.“A happy land in the remote north where the inhabitants enjoy a natural pefection attended with complete happiness obtained without exertion. There is there no vicissitude, nor decrepitude, nor death, nor fear: no distinction of virtue and vice, none of the inequalities denoted by the words best, worst, and intermediate, nor any change resulting from the succession of the four Yugas.” See Muir's Sanskrit Texts, Vol. I. p. 492.367.The Moon.368.The poet does not tell us what these lakes contained.369.These ten lines are a substitution for, and not a translation of the text which Carey and Marshman thus render: “This mountain adorned with mango, jumboo, usuna, lodhra, piala, punusa, dhava, unkotha, bhuvya, tinisha, vilwa, tindooka, bamboo, kashmaree, urista, uruna, madhooka, tilaka, vuduree, amluka, nipa, vetra, dhunwuna, veejaka, and other trees affording flowers, and fruits, and the most delightful shade, how charming does it appear!”370.Vidyadharis, Spirits of Air, sylphs.371.A lake attached either to Amarávatí the residence of Indra, or Alaká that of Kuvera.372.The Ganges of heaven.373.Naliní, as here, may be the name of any lake covered with lotuses.374.This canto is allowed, by Indian commentators, to be an interpolation. It cannot be the work of Válmíki.375.A fine bird with a strong, sweet note, and great imitative powers.376.Bauhinea variegata, a species of ebony.377.The rainbow is called the bow of Indra.378.Bhogavatí, the abode of the Nágas or Serpent race.379.“The order of the procession on these occasions is that the children precede according to age, then the women and after that the men according to age, the youngest first and the eldest last: when they descend into the water this is reversed and resumed when they come out of it.” Carey and Marshman.380.Vṛihaspati, the preceptor of the Gods.381.Garuḍ, the king of birds.382.To be won by virtue.383.The four religious orders, referable to different times of life are, that of the student, that of the householder, that of the anchorite, and that of the mendicant.384.To Gods, men, and Manes.385.Gayá is a very holy city in Behar. Every good Hindu ought once in his life to make funeral offerings in Gayá in honour of his ancestors.386.Put is the name of that region of hell to which men are doomed who leave no son to perform the funeral rites which are necessary to assure the happiness of the departed. Putra, the common word for a son is said by the highest authority to be derived from Put and tra deliverer.387.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.”
388.The verses in a different metre with which some cantos end are all to be regarded with suspicion. Schlegel regrets that he did not exclude them all from his edition. These lines are manifestly spurious. See Additional Notes.389.This genealogy is a repetition with slight variation of that given in Book I, Canto LXX.390.In Gorresio's recension identified with Vishṇu. See Muir's Sanskrit Texts, Vol. IV. pp 29, 30.391.From sa with, and gara poison.392.See Book I. Canto XL.393.A practice which has frequently been described, under the name of dherna, by European travellers in India.394.Compare Milton's “beseeching or beseiging.”395.Ten-headed, ten-necked, ten faced, are common epithets of Rávaṇ the giant king of Lanká.396.The spouse of Rohiṇí is the Moon: Ráhu is the demon who causes eclipses.397.“Once,” says the Commentator Tírtha, “in the battle between the Gods and demons the Gods were vanquished, and the sun was overthrown by Ráhu. At the request of the Gods Atri undertook the management of the sun for a week.”398.Now Nundgaon, in Oudh.399.A part of the great Daṇḍak forest.400.When the saint Máṇḍavya had doomed some saint's wife, who was Anasúyá's friend, to become a widow on the morrow.401.Heavenly nymphs.402.The ball or present of food to all created beings.403.The clarified butter &c. cast into the sacred fire.404.The Moon-God: “he is,” says the commentator, “the special deity of Bráhmans.”405.“Because he was an incarnation of the deity,” says the commentator, “otherwise such honour paid by men of the sacerdotal caste to one of the military would be improper.”406.The king of birds.407.Kálántakayamopamam, resembling Yáma the destroyer.408.Somewhat inconsistently with this part of the story Tumburu is mentioned in Book II, Canto XII as one of the Gandharvas or heavenly minstrels summoned to perform at Bharadvája's feast.409.Rambhá appears in Book I Canto LXIV as the temptress of Viśvámitra.410.The conclusion of this Canto is all a vain repetition: it is manifestly spurious and a very feeble imitation of Válmíki's style. See Additional Notes.411.“Even when he had alighted,” says the commentator: The feet of Gods do not touch the ground.412.A name of Indra.413.Śachí is the consort of Indra.414.The spheres or mansions gained by those who have duly performed the sacrifices required of them. Different situations are assigned to these spheres, some placing them near the sun, others near the moon.415.Hermits who live upon roots which they dig out of the earth: literally diggers, derived from the prefix vi and khan to dig.416.Generally, divine personages of the height of a man's thumb, produced from Brahmá's hair: here, according to the commentator followed by Gorresio, hermits who when they have obtained fresh food throw away what they had laid up before.417.Sprung from the washings of Vishṇuu's feet.418.Four fires burning round them, and the sun above.419.The tax allowed to the king by the Laws of Manu.420.Near the celebrated Rámagiri or Ráma's Hill, now Rám-ṭek, near Nagpore—the scene of the Yaksha's exile in the Messenger Cloud.421.A hundred Aśvamedhas or sacrifices of a horse raise the sacrificer to the dignity of Indra.422.Indra.423.Gorresio observes that Daśaratha was dead and that Sítá had been informed of his death. In his translation he substitutes for the words of the text “thy relations and mine.” This is quite superfluous. Daśaratha though in heaven still took a loving interest in the fortunes of his son.424.One of the hermits who had followed Ráma.425.The lake of the five nymphs.426.The holy fig-tree.427.The bread-fruit tree, Artocarpus integrifolia.428.A fine timber tree, Shorea robusta.429.The God of fire.430.Kuvera, the God of riches.431.The Sun.432.Brahmá, the creator.433.Śiva.434.The Wind-God.435.The God of the sea.436.A class of demi-gods, eight in number.437.The holiest text of the Vedas, deified.438.Vásuki.439.Garuḍ.440.The War-God.441.One of the Pleiades generally regarded as the model of wifely excellence.442.The Madhúka, or, as it is now called, Mahuwá, is the Bassia latifolia, a tree from whose blossoms a spirit is extracted.443.“I should have doubted whether Manu could have been the right reading here, but that it occurs again in verse 29, where it is in like manner followed in verse 31 by Analá, so that it would certainly seem that the name Manu is intended to stand for a female, the daughter of Daksha. The Gauḍa recension, followed by Signor Gorresio (III 20, 12), adopts an entirely different reading at the end of the line, viz. Balám Atibalám api, ‘Balá and Atibilá,’ instead of Manu and Analá. I see that Professor Roth s.v. adduces the authority of the Amara Kosha and of the Commentator on Páṇini for stating that the word sometimes means ‘the wife of Manu.’ In the following text of the Mahábhárata I. 2553. also, Manu appears to be the name of a female: ‘Anaradyam, Manum, Vañsám, Asurám, Márgaṇapriyám, Anúpám, Subhagám, Bhásím iti, Prádhá vyajayata. Prádhá (daughter of Daksha) bore Anavadyá, Manu, Vanśá, Márgaṇapriyá, Anúpá, Subhagá. and Bhásí.’ ” Muir's Sanskrit Text, Vol. I. p. 116.444.The elephant of Indra.445.Golángúlas, described as a kind of monkey, of a black colour, and having a tail like a cow.446.Eight elephants attached to the four quarters and intermediate points of the compass, to support and guard the earth.447.Some scholars identify the centaurs with the Gandharvas.448.The hooded serpents, says the commentator Tírtha, were the offspring of Surasá: all others of Kadrú.449.The text reads Kaśyapa, “a descendant of Kaśyapa,” who according to Rám. II. l0, 6, ought to be Vivasvat. But as it is stated in the preceding part of this passage III. 14, 11 f. that Manu was one of Kaśyapa's eight wives, we must here read Kaśyap. The Ganda recension reads (III, 20, 30) Manur manushyáms cha tatha janayámása Rághana, instead of the corresponding line in the Bombay edition. Muir's Sanskrit Text, Vol I, p. 117.450.The original verses merely name the trees. I have been obliged to amplify slightly and to omit some quas versu dicere non est; e.g. the tiniśa (Dalbergia ougeiniensis), punnága (Rottleria tinctoria), tilaka (not named), syandana (Dalbergia ougeiniensis again), vandana (unknown), nípa (Nauclea Kadamba), lakucha (Artœarpus lacucha), dhava (Grislea tomentosa), Aśvakarna (another name for the Sál), Śamí (Acacia Suma), khadira (Mimosa catechu), kinśuka (Butea frondosa), pátala (Bignonia suaveolens).451.Acacia Suma.452.The south is supposed to be the residence of the departed.453.The sun.454.The night is divided into three watches of four hours each.455.The chief chamberlain and attendant of Śiva or Rudra.456.Umá or Párvati, the consort of Śiva.457.A star, one of the favourites of the Moon.458.The God of love.459.A demon slain by Indra.460.Chitraratha, King of the Gandharvas.461.Titanic.462.The Sáriká is the Maina, a bird like a starling.463.Mahákapála, Sthúláksha, Pramátha, Triśiras.464.Vishṇu, who bears a chakra or discus.465.Śiva.466.See Additional Notes—Daksha's Sacrifice.467.Himálaya.468.One of the mysterious weapons given to Ráma.469.A periphrasis for the body.470.Triśirás.471.The Three-headed.472.The demon who causes eclipses.473.“This Asura was a friend of Indra, and taking advantage of his friend's confidence, he drank up Indra's strength along with a draught of wine and Soma. Indra then told the Aśvins and Sarasvatí that Namuchi had drunk up his strength. The Aśvins in consequence gave Indra a thunderbolt in the form of a foam, with which he smote off the head of Namuchi.” Garrett's Classical Dictionary of India. See also Book I. p. 39.474.Indra.475.Popularly supposed to cause death.476.Garuḍ, the King of Birds, carried off the Amrit or drink of Paradise from Indra's custody.477.A demon, son of Kaśyap and Diti, slain by Rudra or Śiva when he attempted to carry off the tree of Paradise.478.Namuchi and Vritra were two demons slain by Indra. Vritra personifies drought, the enemy of Indra, who imprisons the rain in the cloud.479.Another demon slain by Indra.480.The capital of the giant king Rávaṇ.481.Kuvera, the God of gold.482.In the great deluge.483.The giant Márícha, son of Táḍaká. Táḍaká was slain by Ráma. See p. 39.484.Indra's elephant.485.Bhogavatí, in Pátála in the regions under the earth, is the capital of the serpent race whose king is Vásuki.486.the grove of Indra.487.Pulastya is considered as the ancestor of the Rakshases or giants, as he is the father of Viśravas, the father of Rávaṇ and his brethren.488.Beings with the body of a man and the head of a horse.489.Ájas, Maríchipas, Vaikhánasas, Máshas, and Bálakhilyas are classes of supernatural beings who lead the lives of hermits.490.“The younger brother of the giant Rávaṇ; when he and his brother had practiced austerities for a long series of years, Brahmá appeared to offer them boons: Vibhishaṇa asked that he might never meditate any unrighteousness.… On the death of Rávaṇ Vibhishaṇa was installed as Rája of Lanká.” Garrett's Classical Dictionary of India.491.Serpent-gods.492.See p. 33.493.The Sanskrit words for car and jewels begin with ra.494.A race of beings of human shape but with the heads of horses, like centaurs reversed.495.The favourite wife of the Moon.496.The planet Saturn.497.Another favourite of the Moon; one of the lunar mansions.498.The Rudras, agents in creation, are eight in number; they sprang from the forehead of Brahmá.499.Maruts, the attendants of Indra.500.Radiant demi-gods.501.The mountain which was used by the Gods as a churning stick at the Churning of the Ocean.502.The story will be found in Garrett's Classical Dictionary. See Additional Notes.503.Mercury: to be carefully distinguished from Buddha.504.The spirits of the good dwell in heaven until their store of accumulated merit is exhausted. Then they redescend to earth in the form of falling stars.505.See The Descent of Gangá, Book I Canto XLIV.506.See Book I Canto XXV.507.Aśoka is compounded of a not and śoka grief.508.See Book I Canto XXXI.509.An Asur or demon, king of Tripura, the modern Tipperah.510.Śiva.511.See Book I, Canto LIX.512.The preceptor of the Gods.513.From the root vid, to find.514.Rávaṇ.515.Or Curlews' Wood.516.Iron-faced.517.Kabandha means a trunk.518.A class of mythological giants. In the Epic period they were probably personifications of the aborigines of India.519.Peace, war, marching, halting, sowing dissensions, and seeking protection.520.See Book I, Canto XVI.521.Or as the commentator Tírtha says, Śilápidháná, rock-covered, may be the name of the cavern.522.Pampá is said by the commentator to be the name both of a lake and a brook which flows into it. The brook is said to rise in the hill Rishyamúka.523.Who was acting as Regent for Ráma and leading an ascetic life while he mourned for his absent brother.524.The Indian Cuckoo.525.The Cassia Fistula or Amaltás is a splendid tree like a giant laburnum covered with a profusion of chains and tassels of gold. Dr. Roxburgh well describes it as “uncommonly beautiful when in flower, few trees surpassing it in the elegance of its numerous long pendulous racemes of large bright-yellow flowers intermixed with the young lively green foliage.” It is remarkable also for its curious cylindrical black seed-pods about two feet long, which are called monkeys' walking-sticks.526.“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.
527.No other word can express the movements of peafowl under the influence of pleasing excitement, especially when after the long drought they hear the welcome roar of the thunder and feel that the rain is near.528.The Dewy Season is one of the six ancient seasons of the Indian year, lasting from the middle of January to the middle of March.529.Ráma appears to mean that on a former occasion a crow flying high overhead was an omen that indicated his approaching separation from Sítá; and that now the same bird's perching on a tree near him may be regarded as a happy augury that she will soon be restored to her husband.530.A tree with beautiful and fragrant blossoms.531.A race of semi-divine musicians attached to the service of Kuvera, represented as centaurs reversed with human figures and horses' heads.532.Butea Frondosa. A tree that bears a profusion of brilliant red flowers which appear before the leaves.533.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.”
534.A sacred stream often mentioned in the course of the poem. See Book II, Canto XCV.535.A daughter of Daksha who became one of the wives of Kaśyapa and mother of the Daityas. She is termed the general mother of Titans and malignant beings. See Book I Cantos XLV, XLVI.536.Sugríva, the ex-king of the Vánars, foresters, or monkeys, an exile from his home, wandering about the mountain Rishyamúka with his four faithful ex-ministers.537.The hermitage of the Saint Matanga which his curse prevented Báli, the present king of the Vánars, from entering. The story is told at length in Canto XI of this Book.538.Hanumán, Sugríva's chief general, was the son of the God of Wind. See Book I, Canto XVI.539.A range of hills in Malabar; the Western Ghats in the Deccan.540.Válmíki makes the second vowel in this name long or short to suit the exigencies of the verse. Other Indian poets have followed his example, and the same licence will be used in this translation.541.I omit a recapitulatory and interpolated verse in a different metre, which is as follows:—Reverencing with the words, So be it, the speech of the greatly terrified and unequalled monkey king, the magnanimous Hanumán then went where (stood) the very mighty Ráma with Lakshmaṇ.542.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.
550.Bráhmans the sacerdotal caste. Kshatriyas the royal and military, Vaiśyas the mercantile, and Śúdras the servile.551.A protracted sacrifice extending over several days. See Book I, p. 24 Note.552.Possessed of all the auspicious personal marks that indicate capacity of universal sovereignty. See Book I. p. 2, and Note 3.553.Kabandha. See Book III. Canto LXXIII.554.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.
555.Indra.556.Báli the king de facto.557.With the Indians, as with the ancient Greeks, the throbbing of the right eye in a man is an auspicious sign, the throbbing of the left eye is the opposite. In a woman the significations of signs are reversed.558.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.
559.Like the wife of a Nága or Serpent-God carried off by an eagle. The enmity between the King of birds and the serpent is of very frequent occurrence. It seems to be a modification of the strife between the Vedic Indra and the Ahi, the serpent or drought-fiend; between Apollôn and the Python, Adam and the Serpent.560.He means that he has never ventured to raise his eyes to her arms and face, though he has ever been her devoted servant.561.The wood in which Skanda or Kártikeva was brought up:
See also Book I, Canto XXIX.
562.“Sugríva's story paints in vivid colours the manners, customs and ideas of the wild mountain tribes which inhabited Kishkindhya or the southern hills of the Deccan, of the people whom the poem calls monkeys, tribes altogether different in origin and civilization from the Indo-Sanskrit race.” Gorresio.563.A fiend slain by Báli.564.Báli's mountain city.565.The canopy or royal umbrella, one of the usual Indian regalia.566.Whisks made of the hair of the Yak or Bos grunniers, also regal insignia.567.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.
576.The Aśvins or Heavenly Twins, the Dioskuri or Castor and Pollux of the Hindus, have frequently been mentioned. See p. 36, Note.577.Called respectively Gárhapatya, Áhavaniya, and Dakshiṇa, household, sacrificial, and southern.578.The store of merit accumulated by a holy or austere life secures only a temporary seat in the mansion of bliss. When by the lapse of time this store is exhausted, return to earth is unavoidable.579.The conflagration which destroys the world at the end of a Yuga or age.580.Himálaya.581.Tárá means “star.” The poet plays upon the name by comparing her beauty to that of the Lord of stars, the Moon.582.Suparṇa, the Well-winged, is another name of Garuḍa the King of Birds. See p. 28, Note.583.The God of Death.584.The flag-staff erected in honour of the God Indra is lowered when the festival is over. Aśvíní in astronomy is the head of Aries or the first of the twenty-eight lunar mansions or asterisms.585.Indra the father of Báli.586.It is believed that every creature killed by Ráma obtained in consequence immediate beatitude.
“And blessed the hand that gave so dear a death.”
587.“Yayáti was invited to heaven by Indra, and conveyed on the way thither by Mátali, Indra's charioteer. He afterwards returned to earth where, by his virtuous administration he rendered all his subjects exempt from passion and decay.” Garrett's C. D. of India.588.The ascetic's dress which he wore during his exile.589.There is much inconsistency in the passages of the poem in which the Vánars are spoken of, which seems to point to two widely different legends. The Vánars are generally represented as semi-divine beings with preternatural powers, living in houses and eating and drinking like men sometimes as here, as monkeys pure and simple, living is woods and eating fruit and roots.590.For a younger brother to marry before the elder is a gross violation of Indian law and duty. The same law applied to daughters with the Hebrews: “It must not be so done in our country to give the younger before the first-born.” Genesis xix. 26.591.“The hedgehog and porcupine, the lizard, the rhinoceros, the tortoise, and the rabbit or hare, wise legislators declare lawful food among five-toed animals.” Manu, v. 18.592.Macbeth.
593.The Ankuś or iron hook with which an elephant is driven and guided.594.Hayagríva, Horse-necked, is a form of Vishṇu.595.“Aśvatara is the name of a chief of the Nágas or serpents which inhabit the regions under the earth; it is also the name of a Gandharva. Aśvatarí ought to be the wife of one of the two, but I am not sure that this conjecture is right. The commentator does not say who this Aśvatarí is, or what tradition or myth is alluded to. Vimalabodha reads Aśvatarí in the nominative case, and explains, Aśvatarí is the sun, and as the sun with his rays brings back the moon which has been sunk in the ocean and the infernal regions, so will I bring back Sítá.” Gorresio.596.That is, “Consider what answer you can give to your accusers when they charge you with injustice in killing me.”597.Manu, Book VIII. 318. “But men who have committed offences and have received from kings the punishment due to them, go pure to heaven and become as clear as those who have done well.”598.Mándhátá was one of the earlier descendants of Ikshváku. His name is mentioned in Ráma's genealogy, p. 81.599.I cannot understand how Válmíki could put such an excuse as this into Ráma's mouth. Ráma with all solemn ceremony, has made a league of alliance with Báli's younger brother whom he regards as a dear friend and almost as an equal, and now he winds up his reasons for killing Báli by coolly saying: “Besides you are only a monkey, you know, after all, and as such I have every right to kill you how, when, and where I like.”600.A name of Garuḍa the king of birds, the great enemy of the Serpents.601.Sugríva's wife.602.“Our deeds still follow with us from afar. And what we have been makes us what we are.”603.Sugríva and Angad.604.Angad himself, being too young to govern, would be Yuvarája or heir-apparent.605.Susheṇa was the son of Varuṇa the God of the sea.606.A demon with the tail of a dragon, that causes eclipses by endeavouring to swallow the sun and moon.607.The Lord of Stars is the Moon.608.Or the passage may be interpreted: “Be neither too obsequious or affectionate, nor wanting in due respect or love.”609.Sacrifices and all religious rites begin and end with ablution, and the wife of the officiating Bráhman takes an important part in the performance of the holy ceremonies.610.Viśvarúpa, a son of Twashṭri or Viśvakarmá the heavenly architect, was a three-headed monster slain by Indra.611.The Vánar chief, not to be confounded with Tárá.612.Śrávaṇ: July-August. But the rains begin a month earlier, and what follows must not be taken literally. The text has púrvo' yam várshiko másah Śrávaṇah salilágamdh. The Bengal recension has the same, and Gorresio translates: “Equesto ilmese Srâvana (luglio-agosto) primo della stagione piovosa, in cui dilagano le acque.”613.Kártik: October-November.614.“Indras, as the nocturnal sun, hides himself, transformed, in the starry heavens: the stars are his eyes. The hundred-eyed or all-seeing (panoptês) Argos placed as a spy over the actions of the cow beloved by Zeus, in the Hellenic equivalent of this form of Indras.” De Gubernatis, Zoological Mythology, Vol. I, p. 418.615.Baudháyana and others.616.Sugríva appears to have been consecrated with all the ceremonies that attended the Abhisheka or coronation of an Indian prince of the Aryan race. Compare the preparations made for Ráma's consecration, Book II, Canto III. Thus Homer frequently introduces into Troy the rites of Hellenic worship.617.Vitex Negundo.618.Mályavat: “The name of this mountain appears to me to be erroneous, and I think that instead of Mályavat should be read Malayavat, Malaya is a group of mountains situated exactly in that southern part of India where Ráma now was, while Mályavat is placed to the north east.” Gorresio.619.Mantles of the skin of the black antelope were the prescribed dress of ascetics and religious students.620.The sacred cord worn as the badge of religious initiation by men of the three twice-born castes.621.The hum with which students conduct their tasks.622.I omit here a long general description of the rainy season which is not found in the Bengal recension and appears to have been interpolated by a far inferior and much later hand than Valmiki's. It is composed in a metre different from that of the rest of the Canto, and contains figures of poetical rhetoric and common-places which are the delight of more recent poets.623.Praushthapada or Bhadra, the modern Bhadon, corresponds to half of August and half of September.624.The Sáman or Sáma-veda, the third of the four Vedas, is really merely a reproduction of parts of the Rig-veda, transposed and scattered about piece-meal, only 78 verses in the whole being, it is said, untraceable to the present recension of the Rig-veda.625.Áshádha is the month corresponding to parts of June and July.626.Bharat, who was regent during Ráma's absence.627.Or with Gorresio, following the gloss of another commentary: “Has completed every holy rite and accumulated stores of merit.”628.The river on which Ayodhyá was built.629.I omit a śloka or four lines on gratitude and ingratitude repeated word for word from the last Canto.630.The Indian crane; a magnificent bird easily domesticated.631.The troops who guard the frontiers on the north, south, east and west.632.The Chátaka, Cuculus, Melanoleucus, is supposed to drink nothing but the water for the clouds.633.The time for warlike expeditions began when the rains had ceased.634.The rainbow.635.Indra's associates in arms, and musicians of his heaven.636.Maireya, a spirituous liquor from the blossoms of the Lythrum fruticosum, with sugar, &c.637.Their names are as follows: Angad, Maínda, Dwida, Gavaya, Gaváksha, Gaja, Śarabha, Vidyunmáli, Sampáti, Súryáksa, Hanumán, Vírabáhu, Subáhu, Nala, Kúmuda, Susheṇa, Tára, Jámbuvatu, Dadhivakra, Níla, Supátala, and Sunetra.638.The Kalpadruma or Wishing-tree is one of the trees of Svarga or Indra's Paradise: it has the power of granting all desires.639.The meaning is that if a man promises to give a horse and then breaks his word he commits a sin as great as if he had killed a hundred horses.640.The story is told in Book I, Canto LXIII, but the charmer there is called Menaká.641.Rohiṇí is the name of the ninth Nakshatra or lunar asterism personified as a daughter of Daksha, and the favourite wife of the Moon. Aldebaran is the principal star in the constellation.642.Válmíki and succeeding poets make the second vowel in this name long or short at their pleasure.643.Some of the mountains here mentioned are fabulous and others it is impossible to identify. Sugríva means to include all the mountains of India from Kailás the residence of the God Kuvera, regarded as one of the loftiest peaks of the Himálayas, to Mahendra in the extreme south, from the mountain in the east where the sun is said to rise to Astáchal or the western mountain where he sets. The commentators give little assistance: that Maháśaila, &c. are certain mountains is about all the information they give.644.One of the celestial elephants of the Gods who protect the four quarters and intermediate points of the compass.645.Váyu or the Wind was the father of Hanumán.646.The path or station of Vishṇu is the space between the seven Rishis or Ursa Major, and Dhruva or the polar star.647.One of the seven seas which surround the earth in concentric circles.648.The title of Maheśvar or Mighty Lord is sometimes given to Indra, but more generally to Śiva whom it here denotes.649.See Book I, Canto XVI.650.The numbers are unmanageable in English verse. The poet speaks of hundreds of arbudas; and an arbuda is a hundred millions.651.Anuhláda or Anuhráda is one of the four sons of the mighty Hiraṇyakaśipu, an Asur or a Daitya son of Kaśyapa and Diti and killed by Vishṇu in his incarnation of the Man-Lion Narasinha. According to the Bhágavata Puráṇa the Daitya or Asur Hiraṇyakaśipu and Hiraṇyáksha his brother, both killed by Vishṇu, were born again as Rávaṇ and Kumbhakarṇa his brother.652.Puloma, a demon, was the father-in-law of Indra who destroyed him in order to avert an imprecation. Paulomí is a patronymic denoting Śachí the daughter of Puloma.653.“Observe the variety of colours which the poem attributes to all these inhabitants of the different mountainous regions, some white, others yellow, &c. Such different colours were perhaps peculiar and distinctive characteristics of those various races.” Gorressio.654.Susheṇ.655.Tára.656.Kesarí was the husband of Hanúmán's mother, and is here called his father.657.“I here unite under one heading two animals of very diverse nature and race, but which from some gross resemblances, probably helped by an equivoque in the language, are closely affiliated in the Hindoo myth … a reddish colour of the skin, want of symmetry and ungainliness of form, strength in hugging with the fore paws or arms, the faculty of climbing, shortness of tail(?), sensuality, capacity of instruction in dancing and in music, are all characteristics which more or less distinguish and meet in bears as well as in monkeys. In the Rámáyaṇam, the wise Jámnavant, the Odysseus of the expedition of Lanká, is called now king of the bears (rikshaparthivah), now great monkey (Mahákapih).” De Gubernatis: Zoological Mythology, Vol. II. p. 97.658.Gandhamádana, Angad, Tára, Indrajánu, Rambha, Durmukha, Hanumán, Nala, Da mukha, Śarabha, Kumuda, Vahni.659.Daityas and Dánavas are fiends and enemies of the Gods, like the Titans of Greek mythology.660.I reduce the unwieldy numbers of the original to more modest figures.661.Sarayú now Sarjú is the river on which Ayodhyá was built.662.Kauśikí is a river which flows through Behar, commonly called Kosi.663.Bhagírath's daughter is Gangá or the Ganges. The legend is told at length in Book I Canto XLIV. The Descent of Gangá.664.A mountain not identified.665.The Jumna. The river is personified as the twin sister of Yáma, and hence regarded as the daughter of the Sun.666.The Sarasvatí (corruptly called Sursooty, is supposed to join the Ganges and Jumna at Prayág or Allahabad. It rises in the mountains bounding the north-east part of the province of Delhi, and running in a south-westerly direction becomes lost in the sands of the great desert.667.The Sindhu is the Indus, the Sanskrit s becoming h in Persian and being in this instance dropped by the Greeks.668.The Sone which rises in the district of Nagpore and falls into the Ganges above Patna.669.Mahí is a river rising in Malwa and falling into the gulf of Cambay after a westerly course of 280 miles.670.There is nothing to show what parts of the country the poet intended to denote as silk-producing and silver-producing.671.Yavadwipa means the island of Yava, wherever that may be.672.Śiśir is said to be a mountain ridge projecting from the base of Meru on the south. Wilson's Vishnu Puráṇa, ed. Hall, Vol. II. p. 117.673.This appears to be some mythical stream and not the well-known Śone. The name means red-coloured.674.A fabulous thorny rod of the cotton tree used for torturing the wicked in hell. The tree gives its name, Śálmalí, to one of the seven Dwípas, or great divisions of the known continent: and also to a hell where the wicked are tormented with the pickles of the tree.675.The king of the feathered creation.676.Viśvakarmá, the Mulciber of the Indian heaven.677.“The terrific fiends named Mandehas attempt to devour the sun: for Brahmá denounced this curse upon them, that without the power to perish they should die every day (and revive by night) and therefore a fierce contest occurs (daily) between them and the sun.” Wilson's Vishṇu Puráṇa. Vol. II. p. 250.678.Said in the Vishṇu Puráṇa to be a ridge projecting from the base of Meru to the north.679.Kinnars are centaurs reversed, beings with equine head and human bodies.680.Yakshas are demi-gods attendant on Kuvera the God of wealth.681.Aurva was one of the descendants of Bhrigu. From his wrath proceeded a flame that threatened to destroy the world, had not Aurva cast it into the ocean where it remained concealed, and having the face of a horse. The legend is told in the Mahábhárat. I. 6802.682.The word Játarúpa means gold.683.The celebrated mythological serpent king Sesha, called also Ananta or the infinite, represented as bearing the earth on one of his thousand heads.684.Jambudwípa is in the centre of the seven great dwípas or continents into which the world is divided, and in the centre of Jambudwípa is the golden mountain Meru 84,000 yojans high, and crowned by the great city of Brahmá. See Wilson's Vishṇu Puráṇa, Vol. II. p. 110.685.Vaikhánases are a race of hermit saints said to have sprung from the nails of Prajápati.686.“The wife of Kratu, Samnati, brought forth the sixty thousand Válakhilyas, pigmy sages, no bigger than a joint of the thumb, chaste, pious, resplendent as the rays of the Sun.” Wilson's Vishṇu Puráṇa.687.The continent in which Sudarśan or Meru stands, i.e. Jambudwíp.688.The names of some historical peoples which occur in this Canto and in the Cantos describing the south and north will be found in the Additional Notes. They are bare lists, not susceptible of a metrical version.689.Suhotra, Śarári, Śaragulma, Gayá, Gaváksha, Gavaya, Susheṇa, Gandhamádana, Ulkámukha, and Ananga.690.The modern Nerbudda.691.Krishṇaveṇí is mentioned in the Vishṇu Puráṇa as “the deep Krishṇaveṇí” but there appears to be no clue to its identification.692.The modern Godavery.693.The Mekhalas or Mekalas according to the Paráṇas live in the Vindhya hills, but here they appear among the peoples of the south.694.Utkal is still the native name of Orissa.695.The land of the people of the “ten forts.” Professor Hall in a note on Wilson's Vishṇu Puráṇa, Vol. II. p. 160 says: “The oral traditions of the vicinity to this day assign the name of Daśárna to a region lying to the east of the District of Chundeyree.”696.Avantí is one of the ancient names of the celebrated Ujjayin or Oujein in Central India.697.Not identified.698.Ayomukh means iron faced. The mountain is not identified.699.The Káverí or modern Cauvery is well known and has always borne the same appellation, being the Chaberis of Ptolemy.700.One of the seven principal mountain chains: the southern portion of the Western Gháts.701.Agastya is the great sage who has already frequently appeared as Ráma's friend and benefactor.702.Támraparṇí is a river rising in Malaya.703.The Páṇḍyas are a people of the Deccan.704.Mahendra is the chain of hills that extends from Orissa and the northern Sircars to Gondwána, part of which near Ganjam is still called Mahendra Malay or hills of Mahendra.705.Lanká, Sinhaladvípa, Sarandib, or Ceylon.706.The Flowery Hill of course is mythical.707.The whole of the geography south of Lanká is of course mythical. Súryaván means Sunny.708.Vaidyut means connected with lightning.709.Agastya is here placed far to the south of Lanká. Earlier in this Canto he was said to dwell on Malaya.710.Bhogavatí has been frequently mentioned: it is the capital of the serpent Gods or demons, and usually represented as being in the regions under the earth.711.Vásuki is according to some accounts the king of the Nágas or serpent Gods.712.Śailúsha, Gramiṇi, Siksha, Suka, Babhru.713.The distant south beyond the confines of the earth is the home of departed spirits and the city of Yáma the God of Death.714.Suráshṭra, the “good country,” is the modern Sura715.A country north-west of Afghanistan, Baíkh.716.The Moon-mountain here is mythical.717.Sindhu is the Indus.718.Páriyátra, or as more usually written Páripátra, is the central or western portion of the Vindhya chain which skirts the province of Malwa.719.Vajra means both diamond and thunderbolt, the two substances being supposed to be identical.720.Chakraván means the discus-bearer.721.The discus is the favourite weapon of Vishṇu.722.The Indian Hephaistos or Vulcan.723.Panchajan was a demon who lived in the sea in the form of a conch shell. Wilson's Vishṇu Puráṇa, V. 21.724.Hayagríva, Horse-necked, is the name of a Daitya who at the dissolution of the universe caused by Brahmá's sleep, seized and carried off the Vedas. Vishṇu slew him and recovered the sacred treasures.725.Meru stands in the centre of Jambudwípa and consequently of the earth. “The sun travels round the world, keeping Meru always on his right. To the spectator who fronts him, therefore, as he rises Meru must be always on the north; and as the sun's rays do not penetrate beyond the centre of the mountain, the regions beyond, or to the north of it must be in darkness, whilst those on the south of it must be in light: north and south being relative, not absolute, terms, depending on the position of the spectator with regard to the Sun and Meru.” Wilson's Vishṇu Puráṇa, Vol. II. p. 243. Note.726.The Viśvadevas are a class of deities to whom sacrifices should be daily offered, as part of the ordinary worship of the householder. According to the Váyu Puráṇa, this is a privilege conferred on them by Brahmá and the Pitris as a reward for religious austerities practised by them upon Himálaya.727.The eight Vasus were originally personifications like other Vedic deities, of natural phenomena, such as Fire, Wind, &c. Their appellations are variously given by different authorities.728.The Maruts or Storm-Gods, frequently addressed and worshipped as the attendants and allies of Indra.729.The mountain behind which the sun sets.730.One of the oldest and mightiest of the Vedic deities; in later mythology regarded as the God of the sea.731.The knotted noose with which he seizes and punishes transgressors.732.Sávarṇi is a Manu, offspring of the Sun by Chháyá.733.The poet has not said who the sons of Yáma are.734.The Lodhra or Lodh (Symplocos Racemosa) and the Devadáru or Deodar are well known trees.735.The hills mentioned are not identifiable. Soma means the Moon. Kála, black; Sudaraśan, fair to see; and Devasakhá friend of the Gods.736.The God of Wealth.737.The nymphs of Paradise.738.Kuvera the son of Viśravas.739.A class of demigods who, like the Yakshas, are the attendants of Kuvera, and the guardians of his treasures.740.Situated in the eastern part of the Himálaya chain, on the north of Assam. The mountain was torn asunder and the pass formed by the War-God Kártikeya and Paraśuráma.741.“The Uttara Kurus, it should be remarked, may have been a real people, as they are mentioned in the Aitareya Bráhmaṇa, VIII. 14.… Wherefore the several nations who dwell in this northern quarter, beyond the Himavat, the Uttara Kurus and the Uttara Madras are consecrated to glorious dominion, and people term them the glorious. In another passage of the same work, however, the Uttara Kurus are treated as belonging to the domain of mythology.” Muir's Sanskrit Texts. Vol. I. p. 494. See Additional Notes.742.The Moon-mountain.743.The Rudras are the same as the storm winds, more usually called Maruts, and are often associated with Indra. In the later mythology the Rudras are regarded as inferior manifestations of Śiva, and most of their names are also names of Śiva.744.Canto IX.745.Udayagiri or the hill from which the sun rises.746.Asta is the mountain behind which the sun sets.747.Himálaya, the Hills of Snow.748.Canto XI.749.Hanumán was the leader of the army of the south which was under the nominal command of Angad the heir apparent.750.The Bengal recension—Gorresio's edition—calls this Asur or demon the son of Márícha.751.The skin of the black antelope was the ascetic's proper garb.752.Uśanas is the name of a sage mentioned in the Vedas. In the epic poems he is identified with Śukra, the regent of the planet Venus, and described as the preceptor of the Asuras or Daityas, and possessor of vast knowledge.753.Hemá is one of the nymphs of Paradise.754.Merusávarṇi is a general name for the last four of the fourteen Manus.755.Svayamprabhá, the “self-luminous,” is according to De Gubernatis the moon: “In the Svayamprabhá too, we meet with the moon as a good fairy who, from the golden palace which she reserves for her friend Hemá (the golden one:) is during a month the guide, in the vast cavern of Hanumant and his companions, who have lost their way in the search of the dawn Sítá.” This is is not quite accurate: Hanumán and his companions wander for a month in the cavern without a guide, and then Svayamprabhá leads them out.756.Purandara, the destroyer of cities; the cities being the clouds which the God of the firmament bursts open with his thunderbolts, to release the waters imprisoned in these fortresses of the demons of drought.757.Perceived that Angad had secured, through the love of the Vánars, the reversion of Sugríva's kingdom; or, as another commentator explains it, perceived that Angad had obtained a new kingdom in the enchanted cave which the Vánars, through love of him, would consent to occupy.758.Vṛihaspati, Lord of Speech, the Preceptor of the Gods.759.Śukra is the regent of the planet Venus, and the preceptor of the Daityas.760.The name of various kinds of grass used at sacrificial ceremonies, especially, of the Kuśa grass, Poa cynosuroides, which was used to strew the ground in preparing for a sacrifice, the officiating Brahmans being purified by sitting on it.761.Sampáti is the eldest son of the celebrated Garuḍa the king of birds.762.Vivasvat or the Sun is the father of Yáma the God of Death.763.Book III, Canto LI.764.Daśaratha's rash oath and fatal promise to his wife Kaikeyí.765.Vritra, “the coverer, hider, obstructer (of rain)” is the name of the Vedic personification of an imaginary malignant influence or demon of darkness and drought supposed to take possession of the clouds, causing them to obstruct the clearness of the sky and keep back the waters. Indra is represented as battling with this evil influence, and the pent-up clouds being practically represented as mountains or castles are shattered by his thunderbolt and made to open their receptacles.766.Frequent mention has been made of the three steps of Vishṇu typifying the rising, culmination, and setting of the sun.767.For the Churning of the Sea, see Book I, Canto XLV.768.Kuvera, the God of Wealth.769.The architect of the gods.770.Garuḍa, son of Vinatá, the sovereign of the birds.771.“The well winged one,” Garuḍa.772.The god of the sea.773.Mahendra is chain of mountains generally identified with part of the Gháts of the Peninsula.774.Mátariśva is identified with Váyu, the wind.775.Of course not equal to the whole earth, says the Commentator, but equal to Janasthán.776.This appears to be the Indian form of the stories of Phaethon and Dædalus and Icarus.777.According to the promise, given him by Brahmá. See Book I, Canto XIV.778.In the Bengal recension the fourth Book ends here, the remaining Cantos being placed in the fifth.779.Each chief comes forward and says how far he can leap. Gaja says he can leap ten yojans. Gavaksha can leap twenty. Gavaya thirty, and so on up to ninety.780.Prahláda, the son of Hiraṇyakaśipu, was a pious Datya remarkable for his devotion to Vishṇu, and was on this account persecuted by his father.781.The Bengal recension calls him Aríshṭanemi's brother. “The commentator says ‘Aríshṭanemi is Aruṇa.’ Aruṇa the charioteer of the sun is the son of Kaśyapa and Vinatá and by consequence brother of Garuḍa, called Vainateya from Vinatá, his mother.” Gorressio.782.A nymph of Paradise.783.Hanu or Hanú means jaw. Hanumán or Hanúmán means properly one with a large jaw.784.Vishṇu, the God of the Three Steps.785.Náráyaṇ, “He who moved upon the waters,” is Vishnu. The allusion is to the famous three steps of that God.786.The Milky Way.787.This Book is called Sundar or the Beatiful. To a European taste it is the most intolerably tedious of the whole poem, abounding in repetition, overloaded description, and long and useless speeches which impede the action of the poem. Manifest interpolations of whole Cantos also occur. I have omitted none of the action of the Book, but have occasionally omitted long passages of common-place description, lamentation, and long stories which have been again and again repeated.788.Brahmá the Self-Existent.789.Maináka was the son of Himálaya and Mená or Menaká.790.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.
916.The Agnisálá or room where the sacrificial fire was kept.917.The exudation of a fragrant fluid from the male elephant's temples, especially at certain seasons, is frequently spoken of in Sanskrit poetry. It is said to deceive and attract the bees, and is regarded as a sign of health and masculine vigour.918.Consisting of warriors on elephants, warriors in chariots, charioteers, and infantry.919.Indra, generally represented as surrounded by the Maruts or Storm-Gods.920.Janasthán, where Ráma lived as an ascetic.921.Máyá, regarded as the paragon of female beauty, was the creation of Maya the chief artificer of the Daityas or Dánavs.922.One of the Nymphs of Indra's heaven.923.The Lotus River, a branch of the heavenly Gangá.924.Trilokanátha, Lord of the Three Worlds, is a title of Indra.925.The celestial elephant that carries Indra.926.As producers of the ghi, clarified butter or sacrificial oil, used in fire-offerings.927.This desertion to the enemy is somewhat abrupt, and is narrated with brevity not usual with Válmíki. In the Bengal recension the preceding speakers and speeches differ considerably from those given in the text which I follow. Vibhishaṇ is kicked from his seat by Rávaṇ, and then, after telling his mother what has happened, he flies to Mount Kailása where he has an interview with Śiva, and by his advice seeks Ráma and the Vánar army.928.Vṛihaspati the preceptor of the Gods.929.In Book II, Canto XXI, Kaṇdu is mentioned by Ráma as an example of filial obedience. At the command of his father he is said to have killed a cow.930.A King of the Yakshas, or Kuvera himself, the God of Gold.931.The brace protects the left arm from injury from the bow-string, and the guard protects the fingers of the right hand.932.The story is told in Book I, Cantos XL, XLI, XLII.933.Fiends and enemies of the Gods.934.The Indus.935.Cowherds, sprung from a Bráhman and a woman of the medical tribe, the modern Ahírs.936.Barbarians or outcasts.937.Vraṇa means wound or rent.938.Here in the Bengal recension (Gorresio's edition), begins Book VI.939.The Goomtee.940.The Anglicized Nerbudda.941.According to a Pauranik legend Keśarí Hanumán's putative father had killed an Asur or demon who appeared in the form of an elephant, and hence arose the hostility between Vánars and elephants.942.Here follows the enumeration of Sugríva's forces which I do not attempt to follow. It soon reaches a hundred thousand billions.943.I omit the rest of this canto, which is mere repetition. Rávaṇ gives in the same words his former answer that the Gods, Gandharvas and fiends combined shall not force him to give up Sítá. He then orders Śárdúla to tell him the names of the Vánar chieftains whom he has seen in Ráma's army. These have already been mentioned by Śuka and Sáraṇ.944.Lakshmí is the Goddess both of beauty and fortune, and is represented with a lotus in her hand.945.The poet appears to have forgotten that Śuka and Sáraṇ were dismissed with ignominy in Canto XXIX, and have not been reinstated.946.The four who fled with him. Their names are Anala, Panasa, Sampáti, and Pramati.947.The numbers here are comparatively moderate: ten thousand elephants, ten thousand chariots, twenty thousand horses and ten million giants.948.The Kinśuk, also called Paláśa, is Butea Frondosa, a tree that bears beautiful red crescent shaped blossoms and is deservedly a favorite with poets. The Seemal or Śálmalí is the silk cotton tree which also bears red blossoms.949.Varuṇa.950.The duty of a king to save the lives of his people and avoid bloodshed until milder methods have been tried in vain.951.I have omitted several of these single combats, as there is little variety in the details and each duel results in the victory of the Vánar or his ally.952.Yajnaśatru, Mahápárśva, Mahodar, Vajradanshṭra, Śuka, and Sáraṇ.953.Angad.954.A mysterious weapon consisting of serpents transformed to arrows which deprived the wounded object of all sense and power of motion.955.On each foot, and at the root of each finger.956.Varuṇ.957.The name of one of the mystical weapons the command over which was given by Viśvámitra to Ráma, as related in Book I.958.One of Sítá's guard, and her comforter on a former occasion also.959.The preceptor of the Gods.960.Ráma's grandfather.961.The Gandharvas are warriors and Minstrels of Indra's heaven.962.“It is to be understood,” says the commentator, “that this is not the Akampan who has already been slain.”963.Rávaṇ's son, whom Hanumán killed when he first visited Lanká.964.Níla was the son of Agni the God of Fire, and possessed, like Milton's demons, the power of dilating and condensing his form at pleasure.965.An ancient king of Ayodhyá said by some to have been Prithu's father.966.The daughter of King Kuśadhwaja. She became an ascetic, and being insulted by Rávaṇ in the woods where she was performing penance, destroyed herself by entering fire, but was born again as Sítá to be in turn the destruction of him who had insulted her.967.Nandíśvara was Śiva's chief attendant. Rávaṇ had despised and laughed at him for appearing in the form of a monkey and the irritated Nandíśvara cursed him and foretold his destruction by monkeys.968.Rávaṇ once upheaved and shook Mount Kailása the favourite dwelling place of Śiva the consort of Umá, and was cursed in consequence by the offended Goddess.969.Rambhá, who has several times been mentioned in the course of the poem, was one of the nymphs of heaven, and had been insulted by Rávaṇ.970.Punjikasthalá was the daughter of Varuṇ. Rávaṇ himself has mentioned in this book his insult to her, and the curse pronounced in consequence by Brahmá.971.Pulastya was the son of Brahmá and father of Viśravas or Paulastya the father of Rávaṇ and Kumbhakarṇa.972.I omit a tedious sermon on the danger of rashness and the advantages of prudence, sufficient to irritate a less passionate hearer than Rávaṇ.973.The Bengal recension assigns a very different speech to Kumbhakarṇa and makes him say that Nárad the messenger of the Gods had formerly told him that Vishṇu himself incarnate as Daśaratha's son should come to destroy Rávaṇ.974.Mahodar, Dwijihva, Sanhráda, and Vitardan.975.A name of Vishṇu.976.There is so much commonplace repetition in these Sallies of the Rákshas chieftains that omissions are frequently necessary. The usual ill omens attend the sally of Kumbhakarṇa, and the Canto ends with a description of the terrified Vánars' flight which is briefly repeated in different words at the beginning of the next Canto.977.Kártikeya the God of War, and the hero and incarnation Paraśuráma are said to have cut a passage through the mountain Krauncha, a part of the Himálayan range, in the same way as the immense gorge that splits the Pyrenees under the towers of Marboré was cloven at one blow of Roland's sword Durandal.978.Rishabh, Śarabh, Níla, Gaváksha, and Gandhamádan.979.Angad. The text calls him the son of the son of him who holds the thunderbolt, i.e. the grandson of Indra.980.Literally, weighing a thousand bháras. The bhára is a weight equal to 2000 palas, the pala is equal to four karśas, and the karśa to 11375 French grammes or about 176 grains troy. The spear seems very light for a warrior of Kumbhakarṇa's strength and stature and the work performed with it.981.The custom of throwing parched or roasted grain, with wreaths and flowers, on the heads of kings and conquerors when they go forth to battle and return is frequently mentioned by Indian poets.982.Lakshmaṇ.983.I have abridged this long Canto by omitting some vain repetitions, commonplace epithets and similes and other unimportant matter. There are many verses in this Canto which European scholars would rigidly exclude as unmistakeably the work of later rhapsodists. Even the reverent Commentator whom I follow ventures to remark once or twice: Ayam śloka prak shipta iti bahavah, “This śloka or verse is in the opinion of many interpolated.”984.Narak was a demon, son of Bhúmi or Earth, who haunted the city Prágjyotisha.985.Śambar was a demon of drought.986.Indra.987.Devántak (Slayer of Gods) Narántak (Slayer of Men) Atikáya (Huge of Frame) and Triśirás (Three Headed) were all sons of Rávaṇ.988.The demon of eclipse who seizes the Sun and Moon.989.Lakshmaṇ.990.In such cases as this I am not careful to reproduce the numbers of the poet, which in the text which I follow are 670000000; the Bengal recension being content with thirty million less.991.The discus or quoit, a sharp-edged circular missile is the favourite weapon of Vishṇu.992.To destroy Tripura the triple city in the sky, air and earth, built by Maya for a celebrated Asur or demon, or as another commentator explains, to destroy Kandarpa or Love.993.The Lokapálas are sometimes regarded as deities appointed by Brahmá at the creation of the word to act as guardians of different orders of beings, but more commonly they are identified with the deities presiding over the four cardinal and four intermediate points of the compass, which, according to Manu V. 96, are 1, Indra, guardian of the East; 2, Agni, of the South-east; 3, Yáma, of the South; 4, Súrya, of the South-west; 5, Varuṇa, of the West; 6, Pavana or Váyu, of the North-west; 7, Kuvera, of the North; 8, Soma or Chandra, of the North-east.994.The chariots of Rávaṇ's present army are said to have been one hundred and fifty million in number with three hundred million elephants, and twelve hundred million horses and asses. The footmen are merely said to have been “unnumbered.”995.It is not very easy to see the advantage of having arrows headed in the way mentioned. Fanciful names for war-engines and weapons derived from their resemblance to various animals are not confined to India. The “War-wolf” was used by Edward I. at the siege of Brechin, the “Cat-house” and the “Sow” were used by Edward III. at the siege of Dunbar.996.Apparently a peak of the Himalaya chain.997.This exploit of Hanumán is related with inordinate prolixity in the Bengal recension (Gortesio's text). Among other adventures he narrowly escapes being shot by Bharat as he passes over Nandigrama near Ayodhyá. Hanumán stays Bharat in time, and gives him an account of what has befallen Ráma and Sítá in the forest and in Lanká.998.As Garuḍ the king of birds is the mortal enemy of serpents the weapon sacred to him is of course best calculated to destroy the serpent arrows of Rávaṇ.999.The celebrated saint who has on former occasions assisted Ráma with his gifts and counsel.1000.Indra.1001.Yáma.1002.Kártikeya.1003.Kubera.1004.Varuṇ.1005.The Pitris, forefathers or spirits of the dead, are of two kinds, either the spirits of the father, grandfathers and great-grandfathers of an individual or the progenitors of mankind generally, to both of whom obsequial worship is paid and oblations of food are presented.1006.The Maruts or Storm-Gods.1007.The Heavenly Twins, the Castor and Pollux of the Hindus.1008.The Man par excellence, the representative man and father of the human race regarded also as God.1009.The Vasus, a class of deities originally personifications of natural phenomena.1010.A class of celestial beings who dwell between the earth and the sun.1011.The seven horses are supposed to symbolize the seven days of the week.1012.One for each month in the year.1013.The garden of Kuvera, the God of Riches.1014.The consort of Indra.1015.The Swayamvara, Self-choice or election of a husband by a princess or daughter of a Kshatriya at a public assembly of suitors held for the purpose. For a description of the ceremony see Nala and Damayantí an episode of the Mahábhárat translated by the late Dean Milman, and Idylls from the Sanskrit.1016.The Pitris or Manes, the spirits of the dead.1017.Kuvera, the God of Wealth.1018.Varuṇ, God of the sea.1019.Mahádeva or Śiva whose ensign is a bull.1020.The Address to Ráma, both text and commentary, will be found literally translated in the Additional Notes. A paraphrase of a portion is all that I have attempted here.1021.Rávaṇ's queen.1022.Or Maináka.1023.Here, in the North-west recension, Sítá expresses a wish that Tárá and the wives of the Vánar chiefs should be invited to accompany her to Ayodhyá. The car decends, and the Vánar matrons are added to the party. The Bengal recension ignores this palpable interruption.1024.The arghya, a respectful offering to Gods and venerable men consisting of rice, dúivá grass, flowers etc., with water.1025.I have abridged Hanumán's outline of Ráma's adventures, with the details of which we are already sufficiently acquainted.1026.In these respectful salutations the person who salutes his superior mentions his own name even when it is well known to the person whom he salutes.1027.I have omitted the chieftains' names as they could not be introduced without padding. They are Mainda, Dwivid, Níla, Rishabh, Susheṇ, Nala, Gaváksha, Gandhamádan, Śarabh, and Panas.1028.The following addition is found in the Bengal recension: But Vaiśravaṇ (Kuvera) when he beheld his chariot said unto it: “Go, and carry Ráma, and come unto me when my thought shall call thee, And the chariot returned unto Ráma;” and he honoured it when he had heard what had passed.1029.Here follows in the original an enumeration of the chief blessings which will attend the man or woman who reads or hears read this tale of Ráma. These blessings are briefly mentioned at the end of the first Canto of the first book, and it appears unnecessary to repeat them here in their amplified form. The Bengal recension (Gorresio's edition) gives them more concisely as follows: “This is the great first poem blessed and glorious, which gives long life to men and victory to kings, the poem which Válmíki made. He who listens to this wondrous tale of Ráma unwearied in action shall be absolved from all his sins. By listening to the deeds of Ráma he who wishes for sons shall obtain his heart's desire, and to him who longs for riches shall riches be given. The virgin who asks for a husband shall obtain a husband suited to her mind, and shall meet again her dear kinsfolk who are far away. They who hear this poem which Válmíki made shall obtain all their desires and all their prayers shall be fulfilled.”1030.The Academy, Vol. III., No 43, contains an able and interesting notice of this work from the pen of the Professor of Sanskrit in the University of Cambridge: “The Uttarakáṇḍa,” Mr. Cowell remarks, “bears the same relation to the Rámáyaṇa as the Cyclic poems to the Iliad. Just as the Cypria of Stasinus, the Æthiopis of Arctinus, and the little Iliad of Lesches completed the story of the Iliad, and not only added the series of events which preceded and followed it, but also founded episodes of their own on isolated allusions in Homer, so the Uttarakáṇḍa is intended to complete the Rámáyaṇa, and at the same time to supplement it by intervening episodes to explain casual allusions or isolated incidents which occur in it. Thus the early history of the giant Rávaṇa and his family fills nearly forty Chapters, and we have a full account of his wars with the gods and his conquest of Lanká, which all happened long before the action of the poem commences, just as the Cypria narrated the birth and early history of Helen, and the two expeditions of the Greeks against Troy; and the latter chapters continue the history of the hero Ráma after his triumphant return to his paternal kingdom, and the poem closes with his death and that of his brothers, and the founding by their descendants of various kingdoms in different parts of India.”1031.Muir, Sanskrit Texts, Part IV., pp. 414 ff.1032.Muir, Sanskrit Texts, Part IV., 391, 392.1033.See Academy, III., 43.1034.Academy, Vol. III., No. 43.1035.E. B. Cowell. Academy, No. 43. The story of Sítá's banishment will be found roughly translated from the Raghuvaṇśa, in the Additional Notes.1036.E. B. Cowell. Academy, Vol, III, No. 43.1037.Muir, Sanskrit Texts, Part IV., Appendix.1038.Ghí: clarified butter. Gur: molasses.1039.Haridwar (Anglicè Hurdwar) where the Ganges enters the plain country.1040.Campbell in “Journ. As. Soc. Bengal,” 1866, Part ii. p. 132; Latham, “Descr. Eth.” Vol. ii. p. 456; Tod, “Annals of Rajasthan,” Vol. i. p. 114.1041.Said by the commentator to be an eastern people between the Himálayan and Vindhyan chains.1042.Videha was a district in the province of Behar, the ancient Mithilá or the modern Tirhoot.1043.The people of Malwa.1044.“The Káśikośalas are a central nation in the Váyu Puráṇa. The Rámáyaṇa places them in the east. The combination indicates the country between Benares and Oude.… Kośala is a name variously applied. Its earliest and most celebrated application is to the country on the banks of the Sarayú, the kingdom of Ráma, of which Ayodhyá was the capital.… In the Mahábhárata we have one Kośala in the east and another in the south, besides the Prák-Kośalas and Uttara Kośalas in the east and north. The Puráṇas place the Kośalas amongst the people on the back of Vindhya; and it would appear from the Váyu that Kuśa the son of Ráma transferred his kingdom to a more central position; he ruled over Kośala at his capital of Kúśasthali of Kuśavatí, built upon the Vindhyan precipices.” Wilson's Vishnṇu Púraṇa, Vol. II. pp. 157, 172.1045.The people of south Behar.1046.The Puṇḍras are said to be the inhabitants of the western provinces of Bengal. “In the Aitareyabráhmaṇa, VII. 18, it is said that the elder sons of Viśvamitra were cursed to become progenitors of most abject races, such as Andhras, Puṇḍras, Śabaras, Pulindas, and Mútibas.” Wilson's Vishṇu Puráṇa Vol. II. 170.1047.Anga is the country about Bhagulpore, of which Champá was the capital.1048.A fabulous people, “men who use their ears as a covering.” So Sir John Maundevile says: “And in another Yle ben folk that han gret Eres and long, that hangen down to here knees,” and Pliny, lib. iv. c. 13: “In quibus nuda alioquin corpora prægrandes ipsorum aures tota contegunt.” Isidore calls them Panotii.1049.“Those whose ears hang down to their lips.”1050.“The Iron-faces.”1051.“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.
1052.The Kirrhadæ of Arrian: a general name for savage tribes living in woods and mountains.1053.Said by the commentator to be half tigers half men.1054.The kingdom seems to have corresponded with the greater part of Berar and Khandesh.1055.The Bengal recension has Kishikas, and places them both in the south and the north.1056.The people of Mysore.1057.“There are two Matsyas, one of which, according to the Yantra Samráj, is identifiable with Jeypoor. In the Digvijaya of Nakula he subdues the Matsyas further to the west, or Gujerat.” Wilson's Vishṇu Puráṇa, Vol. II. 158. Dr. Hall observes: “In the Mahábhárata Sabhá-parwan, 1105 and 1108, notice is taken of the king of Matsya and of the Aparamatsyas; and, at 1082, the Matsyas figure as an eastern people. They are placed among the nations of the south in the Rámáyaṇa Kishkindhá-káṇda, XLI., II, while the Bengal recension, Kishkindhá-káṇḍa, XLIV., 12, locates them in the north.”1058.The Kalingas were the people of the upper part of the Coromandel Coast, well known, in the traditions of the Eastern Archipelago, as Kling. Ptolemy has a city in that part, called Caliga; and Pliny Calingæ proximi mari. Wilson's Vishṇu Puráṇa, Vol. II. 156, Note.1059.The Kauśikas do not appear to be identifiable.1060.The Andhras probably occupied the modern Telingana.1061.The Puṇḍras have already been mentioned in Canto XL.1062.The inhabitants of the lower part of the Coromandel Coast; so called, after them, Cholamaṇdala.1063.A people in the Deccan.1064.The Keralas were the people of Malabar proper.1065.A generic term for persons speaking any language but Sanskrit and not conforming to the usual Hindu institutions.1066.“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.”
1067.The Śúrasenas were the inhabitants of Mathurá, the Suraseni of Arrian.1068.These the Mardi of the Greeks and the two preceding tribes appear to have dwelt in the north-west of Hindustan.1069.The Kámbojas are said to be the people of Arachosia. They are always mentioned with the north-western tribes.1070.“The term Yavanas, although, in later times, applied to the Mohammedans, designated formerly the Greeks.… The Greeks were known throughout Western Asia by the term Yavan, or Ion. That the Macedonian or Bactrian Greeks were most usually intended is not only probable from their position and relations with India, but from their being usually named in concurrence with the north-western tribes, Kámbojas, Daradas, Páradas, Báhlíkas, Śakas &c., in the Rámáyaṇa. Mahábhárata, Puránas, Manu, and in various poems and plays.” Wilson's Vishṇu Puráṇa Vol. II. p. 181, Note.1071.These people, the Sakai and Sacæ of classical writers, the Indo-Scythians of Ptolemy, extended, about the commencement of our era, along the west of India, from the Hindu Kosh to the mouths of the Indus.1072.The corresponding passage in the Bengal recension has instead of Varadas Daradas the Dards or inhabitants of the modern Dardistan along the course of the Indus, above the Himálayas, just before it descends to India.1073.From the word yonder it would appear that the prayer is to be repeated at the rising of the Sun.1074.The creator of the world and the first of the Hindu triad.1075.He who pervades all beings; or the second of the Hindu triad who preserves the world.1076.The bestower of blessings; the third of the Hindu triad and the destroyer of the world.1077.A name of the War-God; also one who urges the senses to action.1078.The lord of creatures; or the God of sacrifices.1079.A name of the King of Gods; also all-powerful.1080.The giver of wealth. A name of the God of riches.1081.One who directly urges the mental faculties to action.1082.One who moderates the senses, also the God of the regions of the dead.1083.One who produces nectar (amrita) or one who is always possessed of light; or one together with Umá (Ardhanáríśvara).1084.The names or spirits of departed ancestors.1085.Name of a class of eight Gods, also wealthy.1086.They who are to be served by Yogís; or a class of Gods named Sádhyas.1087.The two physicians of the Gods: or they who pervade all beings.1088.They who are immortal; or a class of Gods forty-nine in number.1089.Omniscient; or the first king of the world.1090.He that moves; life; or the God of wind.1091.The God of fire.1092.Lord of creatures.1093.One who prolongs our lives.1094.The material cause of knowledge and of the seasons.1095.One who shines. The giver of light.1096.The hymn entitled the Ádityahridaya begins from this verse and the words, thou art, are understood in the beginning of this verse.1097.One who enjoys all (pleasurable) objects; The son of Aditi, the lord of the solar disk.1098.One who creates the world, i.e., endows beings with life or soul, and by his rays causes rain and thereby produces corn.1099.One who urges the world to action or puts the world in motion, who is omnipresent.1100.One who walks through the sky; or pervades the soul.1101.One who nourishes the world, i.e., is the supporter.1102.One having rays (Gabhasti) or he who is possessed of the all-pervading goddess Lakshmí.1103.One resembling gold.1104.One who is resplendent or who gives light to other objects.1105.One whose seed (Retas) is gold; or quicksilver, the material cause of gold.1106.One who is the cause of day.1107.One whose horses are of tawny colour; or one who pervades the whole space or quarters.1108.One whose knowledge is boundless or who has a thousand rays.1109.One who urges the seven (Práṇas) that is the two eyes, the two ears, the nostrils and the organ of speech, or whose chariot, is drawn by seven horses.1110.Vide Gabhastimán.1111.One who destroys darkness, or ignorance.1112.One from whom our blessings or the enjoyments of Paradise come.1113.The architect of the gods; or one who lessens the miseries of our birth and death.1114.One who gives life to the lifeless world.1115.One who pervades the internal and external worlds; or one who is resplendent.1116.He who is identified with the Hindu triad, i.e. the creator (Brahmá) the supporter (Vishnu) and the destroyer (Śiva).1117.Cold or good natured. He is so called because he allays the three sorts of pain.1118.One who is the lord of all.1119.Vide Divákara.1120.One who teaches Brahmá and others the Vedas.1121.One from whom Rudra the destroyer or the third of the Hindu triad springs.1122.One who is knowable through Aditi, i.e., the eternal Brahmavidyá.1123.Great happiness or the sky.1124.The destroyer of cold or stupidity.1125.The Lord of the sky.1126.Vide Timironmathana.1127.One who is known through the Upanishads.1128.He who is the cause of heavy rain.1129.He who is a friend to the good, or who is the cause of water.1130.One who moves in the solar orbit.1131.One who determines the creation of the world; or who is possessed of heat.1132.One who has a mass of rays; or who has Kaustubha and other precious stones as his ornaments.1133.He who urges all to action; or who is yellow in colour.1134.One who is the destroyer of all.1135.One who is omniscient; or a poet.1136.One who is identified with the whole world.1137.One who is of huge form.1138.One who pleases all by giving nourishment; or who is red in colour.1139.One who is the cause of the whole world.1140.One who protects the whole world.1141.The most glorious of all that are glorious.1142.One who is identical with the twelve months.1143.One who gives victory over all the worlds to those who are faithfully devoted to him; or the porter of Brahmá, named Jaya.1144.One who is identical with the blessing which can be obtained by conquering all the worlds; or with the porter of Brahmá named Jayabhadra.1145.One who has Hanúmán as his conveyance.1146.One who controls the senses; or is furious with those who are not his devotees.1147.He who is free in moving the senses; or urges all beings to action.1148.He who can be known through the Pranava (the mystical Om-kára.)1149.One who is the knowledge of Brahmá.1150.One who devours all things.1151.He who is the destroyer of all pains; and of love, and hate, the causes of pain; and ignorance which is the cause of love and hate.1152.One who is bliss; or the mover.1153.One who destroys ignorance and its effects.1154.The doer of all actions.1155.One who beholds the universe; who is a witness of good and bad actions.1156.Sacrifice of the five sensual fires.1157.According to Ápastamba (says the commentator) “it should have been placed on the nose: this must therefore have been done in conformity with some other Sútras.”1158.A class of eight gods.1159.A class of eleven gods called Rudras.1160.Named Víryaván.1161.A class of divine devotees named Sádhyas.1162.One who resides in the water.1163.The third incarnation of Vishṇu, that bore the earth on his tusk.1164.One whose armies are everywhere.1165.One who controls the senses.1166.He who resides in the heart, or who is full, or all-pervading.1167.Vámana, or the Dwarf incarnation of Vishṇu.1168.The killer of Madhu, a demon.1169.He from whose navel, the lotus, from which Brahmá was born, springs.1170.He who has a thousand horns. The horns are here the Sákhás of the Sáma-veda.1171.One who has a hundred heads. The heads are here meant to devote a hundred commandments of the Vedas.1172.Siddhas are those who have already gained the summit of their desires.1173.Sádhyas are those that are still trying to gain the summit.1174.A mystic syllable uttered in Mantras.1175.A mystic syllable made of the letters which respectively denote Brahmá, Vishṇu, and Śiva.1176.A class of divine gods.1177.Sanskáras are those sacred writings through which the divine commands and prohibitions are known.1178.Bali, a demon whom Vámana confined in Pátála.1179.Vishṇu, the second of the Hindu triad.1180.Krishṇa, (black coloured) one of the ten incarnations of Vishṇu.1181.A. Weber, Akademische Vorlesungen, p. 181.1182.Systema brahmanicum, liturgicum, mythologicum, civile, exmonumentis Indicis, etc.1183.Not only have the races of India translated or epitomized it, but foreign nations have appropriated it wholly or in part, Persia, Java, and Japan itself.1184.In the third century B.C.