Preface

This famous and marvellous Sanskrit poem occurs as an episode of the Mahabharata, in the sixth--or "Bhishma"--Parva of the great Hindoo epic. It enjoys immense popularity and authority in India, where it is reckoned as one of the ``Five Jewels,"--pancharatnani--of Devanagiri literature. In plain but noble language it unfolds a philosophical system which remains to this day the prevailing Brahmanic belief, blending as it does the doctrines of Kapila, Patanjali, and the Vedas. So lofty are many of its declarations, so sublime its aspirations, so pure and tender its piety, that Schlegel, after his study of the poem, breaks forth into this outburst of delight and praise towards its unknown author: "Magistrorum reverentia a Brachmanis inter sanctissima pietatis officia refertur. Ergo te primum, Vates sanctissime, Numinisque hypopheta! quisquis tandem inter mortales dictus tu fueris, carminis bujus auctor,, cujus oraculis mens ad excelsa quaeque,quaeque,, aeterna atque divina, cum inenarraoih quddam delectatione rapitur-te primum, inquam, salvere jubeo, et vestigia tua semper adore." Lassen re-echoes this splendid tribute; and indeed, so striking are some of the moralities here inculcated, and so close the parallelism--ofttimes actually verbal-- between its teachings and those of the New Testament, that a controversy has arisen between Pandits and Missionaries on the point whether the author borrowed from Christian sources, or the Evangelists and Apostles from him.

This famous and remarkable Sanskrit poem appears as an episode in the Mahabharata, the great Hindu epic. It is found in the sixth Parva, or "Bhishma" Parva. The poem enjoys immense popularity and authority in India. There, it is considered one of the "Five Jewels," or pancharatnani, of Devanagiri literature. In simple but noble language, it presents a philosophical system that remains the prevailing Brahmanic belief today. This system blends the teachings of Kapila, Patanjali, and the Vedas. Many of the poem’s statements are so lofty, its aspirations so sublime, and its devotion so pure and tender that Schlegel bursts into praise after studying it. He addresses its unknown author: "The Brahmans count reverence for teachers among the most sacred duties of devotion. So I greet you first, most holy poet and interpreter of the divine, whoever you were among mortals. You are the author of this poem, whose sacred words carry the mind toward everything lofty, eternal, and divine, with indescribable delight. You, I say, are the first I greet, and I forever bow in reverence at your feet." Lassen echoes this magnificent tribute. Indeed, some of the moral teachings presented here are so striking that they have prompted a controversy between Pandits and Missionaries. The controversy also arises from the close parallels between the poem’s teachings and those of the New Testament. These parallels often extend even to the wording. The dispute concerns whether the author borrowed from Christian sources, or whether the Evangelists and Apostles borrowed from him.

This raises the question of its date, which cannot be positively settled. It must have been inlaid into the ancient epic at a period later than that of the original Mahabharata, but Mr Kasinath Telang has offered some fair arguments to prove it anterior to the Christian era. The weight of evidence, however, tends to place its composition at about the third century after Christ; and perhaps there are really echoes in this Brahmanic poem of the lessons of Galilee, and of the Syrian incarnation.

This raises the question of the poem’s date, which cannot be settled with certainty. The poem must have been added to the ancient epic after the original Mahabharata was written. But Mr Kasinath Telang has offered some reasonable arguments that the poem predates the Christian era. The weight of evidence, however, points to its composition around the third century after Christ. And perhaps this Brahmanic poem really does echo the teachings of Galilee and the Syrian incarnation.

Its scene is the level country between the Jumna and the Sarsooti rivers-now Kurnul and Jheend. Its simple plot consists of a dialogue held by Prince Arjuna, the brother of King Yudhisthira, with Krishna, the Supreme Deity, wearing the disguise of a charioteer. A great battle is impending between the armies of the Kauravas and Pandavas, and this conversation is maintained in a war-chariot drawn up between the opposing hosts.

The story takes place on the plains between the Jumna and Sarsooti rivers, now Kurnul and Jheend. Its simple plot is a conversation between Prince Arjuna, brother of King Yudhisthira, and Krishna, the Supreme Deity. Krishna is disguised as a charioteer. A great battle is about to begin between the armies of the Kauravas and Pandavas. The conversation takes place in a war chariot positioned between the opposing armies.

The poem has been turned into French by Burnouf, into Latin by Lassen, into Italian by Stanislav Gatti, into Greek by Galanos, and into English by Mr. Thomson and Mr Davies, the prose transcript of the last-named being truly beyond praise for its fidelity and clearness. Mr Telang has also published at Bombay a version in colloquial rhythm, eminently learned and intelligent, but not conveying the dignity or grace of the original. If I venture to offer a translation of the wonderful poem after so many superior scholars, it is in grateful recognition of the help derived from their labours, and because English literature would certainly be incomplete without possessing in popular form a poetical and philosophical work so dear to India.

Burnouf has translated the poem into French, Lassen into Latin, Stanislav Gatti into Italian, and Galanos into Greek. Mr. Thomson and Mr. Davies have translated it into English. Mr. Davies’s prose version truly deserves the highest praise for its faithfulness and clarity. Mr. Telang has also published a version in Bombay, using conversational rhythms. His version shows outstanding scholarship and understanding, but does not convey the original’s dignity or grace. If I dare to offer a translation of this wonderful poem after so many more accomplished scholars, I have two reasons. First, I wish to express my gratitude for the help I have gained from their work. Second, English literature would certainly be incomplete without an accessible version of this poetic and philosophical work, so dear to India.

There is little else to say which the "Song Celestial" does not explain for itself. The Sanskrit original is written in the Anushtubh metre, which cannot be successfully reproduced for Western ears. I have therefore cast it into our flexible blank verse, changing into lyrical measures where the text itself similarly breaks. For the most part, I believe the sense to be faithfully preserved in the following pages; but Schlegel himself had to say: "In reconditioribus me semper poetafoster mentem recte divinasse affirmare non ausim." Those who would read more upon the philosophy of the poem may find an admirable introduction in the volume of Mr Davies, printed by Messrs Trubner & Co.

There is little more to say that the "Song Celestial" does not explain for itself. The Sanskrit original uses the Anushtubh metre, which cannot be successfully reproduced for Western ears. I have therefore used our flexible blank verse, shifting to lyrical rhythms where the original makes similar changes. For the most part, I believe these pages faithfully preserve the meaning. But even Schlegel had to say: "In the more obscure passages, I dare not claim that I have always correctly understood our poet’s meaning." Readers who want to learn more about the poem’s philosophy may find an excellent introduction in Mr Davies’s volume. It is published by Messrs Trubner & Co.

EDWIN ARNOLD, C.S.I.

Edwin Arnold, C.S.I.

CONTENTS

CONTENTS