Enkidoodle

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 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.

_Then with the royal chaplains they_ _Took each his place in long array._

_The twice born chiefs, with zealous heed,_ _Made ready what the rite would need._

“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.

_There by the gate the Sáras screamed._

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.

_My mothers or my sire the king._

All the wives of the king his father are regarded and spoken of by Ráma as his mothers.

Page 125.

_Such blessings as the Gods o’erjoyed_ _Poured forth when Vritra was destroyed._

“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.

_And that prized herb whose sovereign power_ _Preserves from dark misfortune’s hour._ “And yet more medicinal is it than that Moly, That Hermes once to wise Ulysses gave; He called it Hæmony, and gave it me, And bade me keep it as of sovereign use ’Gainst all enchantment, mildew, blast, or damp, Or ghastly furies’ apparition.” _Comus._

The _Moly_ of Homer, which Dierbach considers to have been the _Mandrake_, is probably a corruption of the Sanskrit _Múla_ a root.

Page 136.

_True is the ancient saw: the Neem_ _Can ne’er distil a honeyed stream._

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.

_Who of Nisháda lineage came._

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.”

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.

_Beneath a fig-tree’s mighty shade,_ _With countless pendent shoots displayed._ “So counselled he, and both together went Into the thickest wood; there soon they chose The fig-tree: not that kind for fruit renowned, But such as at this day, to Indians known, In Malabar or Deccan spreads her arms Branching so broad and long, that in the ground The bended twigs take root, and daughters grow About the mother tree, a pillared shade High overarched, and echoing walks between.”

_Paradise Lost_, Book IX.

Page 161.

_Now, Lakshmaṇ, as our cot is made,_ _Must sacrifice be duly paid._

The rites performed in India on the completion of a house are represented in modern Europe by the familiar “house-warming.”

Page 169.

_I longed with all my lawless will_ _Some elephant by night to kill._

One of the regal or military caste was forbidden to kill an elephant except in battle.

_Thy hand has made no Bráhman bleed._

“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.

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, 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.

_What worlds await thee, Queen, for this?_

“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.

_When from a million herbs a blaze_ _Of their own luminous glory plays._

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.).

_Non ardentis_ fulgere incendia silvae.

Seneca, speaking of Argolis, (Thyestes, Act IV), says:—

Tota solet

Micare flamma silva, et excelsae trabes _Ardent sine igni_.

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.

_We rank the Buddhist with the thief._

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:

[-)] [-] [)] [-] | [-] [)] [)] [-] | [)] [-] [-)] [)] [-] [)] [-] | [-] [)] [)] [-] | [)] [-] [)] [-)]

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 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.

_And King Himálaya’s Child._

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.

_Strong Kumbhakarṇa slumbering deep_ _In chains of never-ending sleep._

“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.

_Like Śiva when his angry might_ _Stayed Daksha’s sacrificial rite._

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.

Daksha for devotion Made a mighty feast: Milk and curds and butter, Flesh of bird and beast, Rice and spice and honey, Sweetmeats ghí and gur,(1038) Gifts for all the Bráhmans, Food for all the poor. At the gates of Gangá(1039) Daksha held his feast; Called the gods unto it, Greatest as the least. All the gods were gathered Round with one accord; All the gods but Umá, All but Umá’s lord. Umá sat with Shiva On Kailása hill: Round them stood the Rudras Watching for their will. Who is this that cometh Lilting to his lute? All the birds of heaven Heard his music, mute. Round his head a garland Rich of hue was wreathed: Every sweetest odour From its blossoms breathed. ’Tis the Muni Nárad; ’Mong the gods he fares, Ever making mischief By the tales he bears. “Hail to lovely Umá! Hail to Umá’s lord! Wherefore are they absent For her father’s board? Multiplied his merits Would be truly thrice, Could he gain your favour For his sacrifice.” Worth of heart was Umá; To her lord she spake:— “Why dost thou, the mighty, Of no rite partake? Straight I speed to Daksha Such a sight to see: If he be my father, He must welcome thee.” Wondrous was in glory Daksha’s holy rite; Never had creation Viewed so brave a sight. Gods, and nymphs, find fathers, Sages, Bráhmans, sprites,— Every diverge creature Wrought that rite of rites. Quickly then a quaking Fell on all from far; Umá stood among them On her lion car. “Greeting, gods and sages, Greeting, father mine! Work hath wondrous virtue, Where such aids combine. Guest-hall never gathered Goodlier company: Seemeth all are welcome. All the gods but me.” Spake the Muni Daksha, Stern and cold his tone:— “Welcome thou, too, daughter, Since thou com’st alone. But thy frenzied husband Suits another shrine; He is no partaker Of this feast of mine. He who walks in darkness Loves no deeds of light: He who herds with demons Shuns each kindly sprite. Let him wander naked.— Wizard weapons wield,— Dance his frantic measure Round the funeral field. Art thou yet delighted With the reeking hide, Body smeared with ashes. Skulls in necklace tied? Thou to love this monster? Thou to plead his part! Know the moon and Gangá Share that faithless heart Vainly art thou vying With thy rivals’ charms. Are not coils of serpents Softer than thine arms?” Words like these from Daksha Daksha’s daughter heard: Then a sudden passion All her bosom stirred. Eyes with fury flashing. Speechless in her ire, Headlong did she hurl her ’Mid the holy fire. Then a trembling terror Overcame each one, And their minds were troubled Like a darkened sun; And a cruel Vision, Face of lurid flame, Umá’s Wrath incarnate, From the altar came. Fiendlike forms by thousands Started from his side, ’Gainst the sacrificers All their might they plied: Till the saints availed not Strength like theirs to stay, And the gods distracted Turned and fled away. Hushed were hymns and chanting, Priests were mocked and spurned; Food defiled and scattered; Altars overturned.— Then, to save the object Sought at such a price, Like a deer in semblance Sped the sacrifice. Soaring toward the heavens, Through the sky it fled? But the Rudras chasing Smote away its head. Prostrate on the pavement Daksha fell dismayed:— “Mightiest, thou hast conquered Thee we ask for aid. Let not our oblations All be rendered vain; Let our toilsome labour Full fruition gain.” Bright the broken altars Shone with Shiva’s form; “Be it so!” His blessing Soothed that frantic storm. Soon his anger ceases, Though it soon arise;— But the Deer’s Head ever Blazes in the skies.”

_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 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.

_The sovereign of the Vánar race._

“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.

_No change of hue, no pose of limb_ _Gave sign that aught was false in him._ _Concise, unfaltering, sweet and clear,_ _Without a word to pain the ear,_ _From chest to throat, nor high nor low,_ _His accents came in measured flow._

Somewhat similarly in _The Squire’s Tale_:

“He with a manly voice said his message, After the form used in his language, Withouten vice of syllable or of letter. And for his talë shouldë seem the better Accordant to his wordës was his chere, As teacheth art of speech them that it lere.”

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.

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.

“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 swift Ekapádakas,(1051) and the strong imperishable Eaters of Men, and the Kirátas(1052) 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-men(1053) who live amid the waters.”

Page 374.

“Go to the Vidarbhas(1054) and the Rishṭikas(1055) and the Mahishikas,(1056) and the Matsyas(1057) and Kalingas(1058) and the Kauśikas(1059) … and the Andhras(1060) and the Puṇḍras(1061) and the Cholas(1062) and the Paṇḍyas(1063) and the Keralas,(1064) Mlechchhas(1065) and the Pulindas(1066) and the Śúrasenas,(1067) and the Prasthalas and the Bharatas and Madrakas(1068) and the Kámbojas(1069) and the Yavanas(1070) and the towns of the Śakas(1071) 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 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.

_Trust to these mighty Vánars._

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.

_"Art thou not he who slew of old_ _The Serpent-Gods, and stormed their hold."_

All these exploits of Rávaṇ are detailed in the _Uttarakáṇḍa_, and epitomized in the Appendix.

Page 434.

_Within the consecrated hall_.

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.

_Fair Punjikasthalá I met._

“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.

_“__Shall no funereal honours grace_ _The parted lord of Raghu’s race?__”_

“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.

_Each glorious sign_ _That stamps the future queen is mine_.

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.

_In battle’s wild Gandharva dance_.

“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 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.

_By Anaraṇya’s lips of old._

“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:

Tum dea nube cava tenuem sine viribus umbram In faciem Æneæ (visu mirabile monstrum) Dardaniis ornat telis; clipeumque jubasque Divini assimulat capitis; dat inania verba; Dat sine mente sonum, gressusque effingit euntis.

(_Æneidos_, lib. X.)” GORRESIO.

Page 489.

_"To Raghu’s son my chariot lend."_

“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:

At Venus æthereos inter dea candida nimbos Dona fereus aderat;… … Arma sub adversa posuit radiantia quercum. Ille, deæ donis et tanto lætus honore, Expleri nequit, atque oculus per singula volvit, Miraturque, interque manus et brachia versat Terribilem cristis galeam flammasque vomentem, Fatiferumque ensem, loricam ex ære rigentem.

(_Æneidos_, lib. VIII)” GORRESIO.

Page 489.

_Agastya came and gently spake._

“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 yonder(1073) 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) 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) 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,(1150)and 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 Agnihotra(1156) and also the fruit obtained by the 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 shoulder(1157) 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 fifth(1160) 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 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 boar(1163) 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 Upendra(1167) 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.”

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.

_Still on his head, well trained in lore_ _Of duty, Ráma’s shoes he bore._

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_:

“Han sendte til Irland sin skiden skoe, Og böd den Konge. Som der monne boe, Han skulde dem hæderlig bære Pan Juuledag i sin kongelig Pragt, Og kjende han havde sit Rige og Magt Af Norges og Quernes Herre.”

He sent to Ireland his dirty shoes, And commanded the king who lived there To wear them with honour On Christmas Day in his royal state, And to own that he had his kingdom and power From the Lord of Norway and the Isles. _Notes & Queries, March 30, 1872._

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.

“But,” says an eminent Indianist(1181) 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,

Forsan in alcun vero suo arco percuote,

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 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 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 Megasthenes(1184) 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 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.

Ádityas, 246, 403.

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.

Agnivarṇa, 82, 220.

Agniketu, 433 note, 459.

Ahalyá, 60, 61, 62.

Ailadhána, 178.

Air, 2, 28, 203.

Airávat, 14, 110, 178, 246, 256, 267, 335, 399, 402, 415, 429, 437, 472.

Aja, 82, 220, 465.

Ájas, 270, 271.

Akampan, 265, 266, 468, 481.

Aksha, 6, 420, 469, 471.

Akurvati, 178.

Alaka, 203 note.

Alambúshá, 59, 198, 199.

Alarka, 104, 107.

Amarávatí, 13, 203 note, 286.

Ambarísha, 72, 73, 74, 82, 220.

Amúrtarajas, 46.

Anala, 455 note.

Analá, 245, 246.

Ananta, 373.

Anaraṇya, 81, 219, 470.

Anasúyá, 9, 226, 227, 228.

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.

Angas, 15, 18, 19, 21, 102.

Angiras, 133, 245.

Anjan, 14, 368, 369.

Anjaná, 392.

Anśudhána, 179.

Anśumán, 50, 53, 56, 82, 220.

Anuhláda, 370.

Aparparyat, 178.

Apartála, 175.

Apsarases, 57, 198, 199, 229, 378.

Aptoryám, 24.

Arishta, 424, 425.

Aríshṭanemi, 49, 245, 392.

Arjun, 86.

Arjuna, 518.

Arthasádhak, 14.

Aruṇ, 246,

Arundhatí, 19, 244, 413.

Aryaman, 124.

Áryan, 92.

Asamanj, 50, 53, 82, 138, 220.

Asit, 81, 219.

Aśok, 14, 175.

Aśoka, 6, 10, 101, 205, 278, 296, 297, 300, 318, 321, 357, 403, 444, 452, 456.

Asta, 377, 379 note.

Asurs, 57, 58, 380, 381, 387, 394, 407, 413, 420.

Aśvagríva, 246.

Aśvamedh, 29, 236 note.

Aśvapati, 89, 131, 178, 183.

Aśvatarí, 346.

Aśvin, 371.

Aśvíní, 343.

Aśvins, 28, 36, 60, 62, 163, 246, 339, 343, 403, 490.

Atikáya, 468, 478 ff.

Atirátra, 24.

Atri, 245, 561.

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.

Báhíka, 176.

Bahuputra, 245.

Bala, 264.

Bálakhilyas, 63, 235, 270, 271, 374.

Bali, 43, 59, 107, 275, 302, 421.