Indian Myth and Legend. Donald Alexander MackenzieЧитать онлайн книгу.
but it is difficult to believe, at the same time, that an isolated and poorly armed people could have imposed its intellectual culture over a wide area without having received anything in return. It is more probable that the northern Germanic peoples were subjected to the same influences which are traceable in their mythology and in the Vedic hymns, from a common source, and there may be more than mere mythology in the persistent tradition that the ancestors of the Teutons immigrated from Asia led by Odin. We need not assume that the movement was so much a racial as a cultural one, which emanated from a particular area where religious conceptions were influenced by particular habits of life and “immemorial modes of thought”. Among the settled and agricultural peoples of the Brown race, the development of religious ideas followed different lines, and were similarly controlled by early ideas which sprang from different habits and experiences.
In the opening chapters we present various phases of Aryan life and religion in India, beginning with the worship of Indra, and concluding with the early stages of modern Hinduism. From the ancient tribal struggles of the Middle Country accumulated the hero songs which received epic treatment in the Mahábhárata, while the traditions of the “Easterners” were enshrined in the Rámáyana. Although neither of these great works can be regarded as historical narratives, they contain a mass of historical matter which throws much light on the habits and customs and beliefs of the early peoples.
These epics were utilized by Brahmanical compilers for purposes of religious propaganda, and survive to us mainly as sacred books. In our pages we have given prominence to the heroic narrative which remains embedded in the mass of doctrinal treatises and mythological interpolations. The miraculous element is somewhat toned down in the accounts of conflicts, and the more dramatic phases of the heroic stories are presented in as full detail as space permits, so as to afford our readers glimpses of ancient life in northern India at a time when Vedic religion still held sway. This applies especially to the Mahábhárata, the kernel of which, no doubt, contains the hero songs of the Bharata and other tribes. The mythical conflicts of the Rámáyana appeal less to western minds than its purely human episodes. We cannot help being impressed by the chivalrous character of the leading heroes, the high sense of honour displayed by the princes, and the obedience shown by sons to their parents. We may weary of Rama's conflicts with giants and demons, but will long remember him as the child who pronounced his name as “'Ama” and cried for the moon, or sat on his father's knee at meetings of the State Council. Our interest will also abide with him as a lover and a faithful husband who suffered wrong. His brothers are noble and heroic characters, worthy of Shakespeare. But even the Bard of Avon never depicted more wonderful and fascinating women than the heroines of the Mahábhárata and Rámáyana. Our gallery includes, among others, the noble and self-sacrificing Savitri, who rescued her husband from the clutches of death by exercise of her strong love and devotion; the faithful and virtuous Sita, and the sorrowful and constant Damayantí, and beautiful Shakuntalá. In western literature romance usually ends with marriage; in India the devotion of wives is of more account than the yearnings of love-smitten Juliets on moonlight nights.
Another aspect of Sanskrit literature is the feeling of the poets for Nature. These voluminous writers revelled in the luxuriant loveliness and splendour of Indian forests, and the charms of gleaming valleys and serene, snow-capped mountains; even the gods loved to hear the hum of insects and the songs of melodious birds, and, like mortals, to gather flowers of sweet scents and brilliant colours. Hundreds of songs were sung in praise of the lotus blooms that gemmed the clear waters of lakes and ponds, and Paradise was pictured as a jungle of beauty, fanned by soft winds, radiant with blossoms, and ever vocal with music and song. To illustrate this phase of India's classic literature, we reproduce at length the representative story of Nala with much of its poetic details.
The civilization revealed by the narrative poems was of no mean order. The ancient Aryans were chivalrous knights. No such barbaric incident occurs in the Mahábhárata battles as when in the Iliad the victorious Achilles drags behind his chariot the body of the slain Hector. When Arjuna, the Indian Achilles, slays Karna, the Indian Hector, he honours his fallen foe and performs those rites at the funeral pyre which assures the dead hero immortal bliss in Paradise. When, again, Arjuna mortally wounds Bhishma, he procures water to quench the thirst of his dying opponent. Even the villains are not without their redeeming qualities. Duryodhana of the Mahábhárata, who consents to the slaughter of his sleeping rivals, dies with grief because the innocent children of his enemies were slain. Rávana, the demon king of Ceylon, touches us in the Rámáyana by his grief for his son, who was slain fighting against Laksmana, brother of Rama.
To appreciate fully the sacred and romantic literature of India, we should follow the advice of Robert Louis Stevenson. “To learn aright from any teacher,” he wrote, “we must first of all, like a historical artist, think ourselves into sympathy with his position.” And if in endeavouring to understand the religious conceptions of the ancient forest sages, we, at times, find ourselves in difficulties, it may be that “if a saying is hard to understand, it is because we are thinking of something else”—we are looking on India with European eyes and with European prejudices. “There is always”, said Stevenson, “a ruling spirit behind the code of rules, an attitude, a relation, a point of the compass, in virtue of which we conform or dissent.”41
We are confident that our readers who peruse with sympathy and, we hope, with enjoyment, the chapters which follow, will feel themselves drawn closer than hitherto to the millions of our fellow subjects in the great dependency of the British Empire, by whom Rama and Yudhishthira are regarded as ideal types of strong manhood, and Savitri and Sita as perfect women and exemplary lovers and wives.
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A VYASA, OR PUBLIC READER, RECITING THE MAHABHARATA
CHAPTER I
Indra, King of the Gods
Types of Hammer Gods—The Aryan Indra—Chinese World Shaper—Scottish Hunting Deity—Egyptian Artisan God—Greek and Roman Thunder Gods—Thor—Hittite, Assyrian, and other types—A Wail from Palestine—Babylonian Influence—Indra's Indian Character—A Nature Myth—Drought Demon slain—Gods and Demons in conflict—Origin of Indra's Thunderbolt—Demons' plot to destroy Universe—Babylonian Creation Myth—How Indra Shaped the World—Elfin Artisans in India, Egypt, and Germania—Babylonian Artisan God—Indra the Harvest God—The God of Battle—Comparison with Thor—Aryan Cattle Lifters—Indra's Queen and Attendants.
The ancient Eur-Asian “hammer god”, bearing the tribal name of Indra, accompanied the earliest invading bands of hunting and pastoral Aryans, who hailed with joy the “fresh woods and pastures new” of the Punjab, the green country of “Five Rivers”. This deity of wanderers and invaders was already of great antiquity and wide distribution; his attributes were in accord with the habits and ideals of his worshippers; they multiplied with the discoveries of man and were ever influenced by the conditions prevailing in new areas of localization. He was the Thunderer who brought rain to quicken dried-up pasture lands; he was the god of fertility, and he became the corn spirit; he was “the friend of man”; he was the artisan of the Universe which he shaped with his hammer, the dragon slayer, the giant killer, the slaughterer of enemies, the god of war. His racial significance must ever remain obscure. We cannot identify his original home, or even fix with certainty the archæological period in which he first took definite shape. It is possible that he may have been invoked and propitiated by Neolithic, or even by Palæolithic, flint knappers who struck fire from stone long ere they suspected the existence of metal; the primitive hunting and pastoral wanderers may have conceived of a thunder deity engaged in splintering the hills with his stone hammer, and fighting demons in the rude manner in which they themselves contended against beasts of prey. Memories of the Stone Age cling to the hammer god. Indra's bolt was “the all-dreaded thunderstone” of Shakespeare's lyric; until recently Palæolithic and Neolithic artifacts were reputed to be “elf bolts” and “thunder bolts” which fell from the sky; in Scandinavian folklore “the flint hills” are the fragments of the weapon wielded by the thunder giant Hrungner. The bolt or hammer ultimately became an