III. the fourth century before Christ. But there seems no ground to question the opinion of one well qualified to judge, that it was familiar to the Hindús at least two or three centuries before Christ.* It illustrates the date of both works to observe that, although the heroes in both are incarnations of Vishnú, Ráma commonly appears throughout the poem in his human character alone, and though Crishna is sometimes declared to be the Supreme Being in a human form, yet his actions imply no such divinity, and the passages in which his identity with the ruler of the universe are most clearly stated may be suspected of being the production of a later period than the rest. t With the exception of Mr. Colebrooke (who includes them in his censure of the sacred poetry), all who have read the heroic poems in the original are enthusiastic in their praise; and their beauties have been most felt by those whose own produc tions entitle their judgment to most respect. Nor is this admiration confined to critics who have peculiarly devoted themselves to Oriental literature: Milman and Schlegel vie with Wilson and Jones in their applause; and from one or other of those writers we learn the simplicity and originality of the composition; the sublimity, grace, and pathos of particular passages; the natural dignity of the actors; the holy purity of the manners, and the inexhaustible fertility of imagination in the authors. • Oriental Magazine, vol. iii. p. 133. VI. From such evidence, and not from translations in CHAP. prose, we should form our opinions of the originals. If we were obliged to judge from such of those literal versions as we possess in English (which are mostly from the "Rámáyana"), we should be unable to discover any of the beauties dwelt on, except simplicity; and should conceive the poems to be chiefly characterised by extreme flatness and prolixity. Some of the poetical translations exhibit portions more worthy of the encomiums bestowed on them. The specimens of the "Mahá Bhárat " which appeared, in blank verse, in the "Oriental Magazine," are of this last description. It is true that, though selections, and improved by compression, they are still tediously diffuse; but they contain many spirited and poetical passages: the similes, in particular, are short, simple, and picturesque; and, on the whole, the author must be acknowledged to tread, at whatever distance, on the path of Homer. The episode of "Nala and Damyanti," in the same poem t, being a domestic story, is better fitted than battles to the Hindú genius; and is a model of beautiful simplicity. Among the other episodes in the same poem (as it now stands) is the "Bhagwat Gíta," which is supposed to be the work of a much later age. It is a poetical exposition of the doctrines of a particular school of theology, and has been admired for the clearness and beauty of the * For December, 1824, and March and September, 1825. + Translated by the Rev. H. H. Milman. III. BOOK language and illustrations. Whatever may be its merits as to clearness, it deserves high praise for the skill with which it is adapted to the original epic, and for the tenderness and elegance of the narrative by means of which it is introduced. Descrip tive. The legendary part of the Puránas may be regarded as belonging to this description of poetry. Some of the extracts introduced by Colonel Kennedy in his "Researches into Hindú Mythology” are spirited and poetical. The portion of the "Rámáyana" of Bódáyanah translated by Mr. Ellis in the "Oriental Magazine" for September, 1826, is more conformable to European taste than the other translations; but it seems doubtful, from the note in page 8., whether it is designed to be a literal translation; and, consequently, it cannot safely be taken as a specimen of Hindú poetry. The "Méghadúta" is an excellent example of purely descriptive poetry. A spirit banished from heaven charges a cloud with a message to his celestial mate, and describes the countries over which it will have to pass. The poet avails himself of the favourite Hindú topic of the setting in of the rainy season, amidst assembled clouds and muttering thunder, the revival of nature from its previous languor, the rejoicing of some animals at the approach of rain, and the long lines of cranes, and other migratory * Translated by Professor Wilson, and published with the original Shanscrit, in 1813. VI. birds that appear in the higher regions of the sky: CHAP. he describes the varied landscape and the numerous cities over which the cloud is to pass, interspersing allusions to the tales which are associated with the different scenes. Intermixed with the whole are the lamentations of the exile himself, and his recollections of all the beauties and enjoyments from which he is excluded. The description is less exuberant than in most poems, but it does not escape the tameness which has been elsewhere ascribed to Shanscrit verse. The "Gíta Govinda, or Songs of Jaya Déva*," Pastoral. are the only specimens I know of pure pastoral. They exhibit, in perfection, the luxuriant imagery, the voluptuous softness, and the want of vigour and interest which form the beauties and defects of the Hindú school. They are distinguished also by the use of conceits; which, as the author lived as late as the fourteenth century, are, perhaps, marks of the taste introduced by the Mahometans. I have seen no specimen of Hindú satire. Some Satire. of their dramatic performances seem to partake of this character. Judging from the heaviness of the ludicrous parts occasionally introduced into the regular plays, I should not expect to find much success in this department. Though there are several other poetical works Tales and Asiatic Researches, vol. iii. p. 185. † See Wilson's Hindú Drama, vol. iii. p. 97, &c. of the fables. Appendix. III. BOOK translated, enough has, perhaps, been said on this subject, considering the little value of opinions formed on such grounds. An important part of the Hindú literature, however, still remains to be noticed, in their tales and fables; in both of which species of composition they appear to have been the instuctors of all the rest of mankind. The most ancient known fables (those of Bidpái) have been found almost unchanged in their Shanscrit dress; and to them almost all the fabulous relations of other countries have been clearly traced.* The complicated scheme of story-telling, tale within tale, like the “ Arabian Nights," seems also to be of their invention, as are the subjects of many wellknown tales and romances both Oriental and European. In their native form, they are told with simplicity, and not without spirit and interest. is remarkable, however, that the taste for description seems here to have changed sides, the Hindú stories having none of those gorgeous and picturesque accompaniments which are so captivating in the Arabian and Persian tales. † It * By Mr. Colebrooke, the Baron de Sacy, and Professor Wilson. As a guide to further inquiry into the Indian origin of European fictions, consult the Transactions of the Royal Asiatic Society, vol. i. p. 156. |