TRANSCRIBER’S NOTES.

This book was originally digitized by Google and is intended for personal, non-commercial use only.

Original page numbers are given in curly brackets. Footnotes have been relocated to the end of the book. Passages originally rendered in small-caps have been changed to all-caps in the text version of this work.

Alterations: [pp. 168, 191] Correct misspellings of Edward Moor’s last name; [p. 194] change “battel” to “battle”; and [p. 237] change “Son and Moon” to “Sun and Moon”.

PREFACE.

In the religion of the Hindoos, which of all false religions is the most monstrous in its fables, and the most fatal in its effects, there is one remarkable peculiarity. Prayers, penances, and sacrifices, are supposed to possess an inherent and actual value, in no degree depending upon the disposition or motive of the person who performs them. They are drafts upon Heaven, for which the Gods cannot refuse payment. The worst men, bent upon the worst designs, have in this manner obtained power which has made them formidable to the Supreme Deities themselves, and rendered an Avatar, or Incarnation of Veeshnoo the Preserver, necessary. This belief is the foundation of the following Poem. The story is original; but, in all its parts, consistent with the superstition upon which it is built; and however startling the fictions may appear, they might almost be called credible when compared with the genuine tales of Hindoo mythology.

No figures can be imagined more anti-picturesque, and less poetical, than the mythological personages of the Bramins. This deformity was easily kept out of sight:—their hundred hands are but a clumsy personification of power; their numerous heads only a gross image of divinity, “whose countenance,” as the Bhagvat-Geeta expresses it, “is turned on every side.” To the other obvious objection, that the religion of Hindostan is not generally known enough to supply fit machinery for an English poem, I can only answer, that, if every allusion to it throughout the work is not sufficiently self-explained to render the passage intelligible, there is a want of skill in the poet. Even those readers who should be wholly unacquainted with the writings of our learned Orientalists, will find all the preliminary knowledge that can be needful, in the brief explanation of mythological names prefixed to the Poem.

MYTHOLOGICAL NAMES.

Brama, the Creator.

Veeshnoo, the Preserver.

Seeva, the Destroyer.

These form the Trimourtee, or Trinity, as it has been called, of the Bramins. The allegory is obvious, but it has been made for the Trimourtee, not the Trimourtee for the allegory; and these Deities are regarded by the people as three distinct and personal Gods. The two latter have at this day their hostile sects of worshippers; that of Seeva is the most numerous; and in this Poem, Seeva is represented as Supreme among the Gods. This is the same God whose name is variously written Seeb, Sieven and Siva, Chiven by the French, Xiven by the Portugueze, and whom European writers sometimes denominate Eswara, Iswaren, Mahadeo, Mahadeva, Rutren,—according to which of his thousand and eight names prevailed in the country where they obtained their Information.

Indra, God of the Elements.

The Swerga, his Paradise,—one of the Hindoo heavens.

Yamen, Lord of Hell, and Judge of the Dead.

Padalon, Hell,—under the Earth, and, like the Earth, of an octagon shape; its eight gates are guarded by as many Gods.

Marriataly, the Goddess who is chiefly worshipped by the lower casts.

Pollear, or Ganesa,—the Protector of Travellers. His statues are placed in the highways, and sometimes in a small lonely sanctuary, in the streets and in the fields.

Casyapa, the Father of the Immortals.

Devetas, The Inferior Deities.

Suras, Good Spirits.

Asuras, Evil Spirits, or Devils.

Glendoveers, the most beautiful of the Good Spirits, the Grindouvers of Sonnerat.