These creatures have every kind of miraculous power, whether they be good or bad. Hanuman, famed in both epics, the divine monkey, with whom is associated the divine 'king of bears' J[=a]mbavan (III. 280. 23), can grow greater than mortal eye can see (III. 150. 9). He is still worshipped as a great god in South India. As an illustration of epic spiritism the case of Ilvala may be taken. This devil, d[=a]iteya, had a trick of cooking his embodied younger brother, and giving him to saints to eat. One saint, supposing the flesh to be mutton (here is saintly meat-eating!), devours the dainty viand; upon which the devil 'calls' his brother, who is obliged to come, whether eaten or not, and in coming bursts the saint that has eaten him (iii. 96). This is folk-lore; but what religion does not folk-lore contain! So, personified Fate holds its own as an inscrutable power, mightier than others.[40] There is another touch of primitive religious feeling which reminds one of the usage in Iceland, where, if a stranger knocks at the door and the one within asks 'who is there?' the guest answers, 'God.' So in the epic it is said that 'every guest is god Indra' (Parjanyo nn[=a]nusa[.m]caran, iii. 200. 123. In the epic Parjanya, the rain-god, and Indra are the same). Of popular old tales of religious bearing may be mentioned the retention and elaboration of the Brahmanic deluge-story, with Manu as Noah (iii. 187); the Açvins' feats in rejuvenating (iii. 123); the combats of the gods with the demons (Namuci, Çambara, Vala, Vritra, Prahl[=a]da, Naraka), etc. (iii. 168).
Turning now to some of the newer traits in the epic, one notices first that, while the old sacrifices still obtain, especially the horse-sacrifice, the r[=a]jas[=u]ya and the less meritorious v[=a]japeya, together with the monthly and seasonal sacrifices, there is in practice a leaning rather to new sacrifices, and a new cult. The soma is scarce, and the p[=u]tika plant is accepted as its substitute (iii. 35. 33) in a matter-of-course way, as if this substitution, permitted of old by law, were now common. The sacrifice of the widow is recognized, in the case of the wives of kings, as a means of obtaining bliss for a woman,[41] for the religion of the epic is not entirely careless of woman. Somewhat new, however, is the self-immolation of a man upon the pyre of his son. Such a case is recorded in iii. 137. 19. where a father burns his son's body, and then himself enters the fire. New also, of course, are the sectarian festivals and sacrifices; and pronounced is the gain in the godhead of priests, king, parents, elder brother, and husband. The priest has long been regarded as a god, but in the epic he is god of gods, although one can trace even here a growth in adulation.[42] The king, too, has been identified before this period with the gods. But in the epic he is to his people an absolute divinity,[43] and so are the parents to the son;[44] while, since the elder brother is the same with a father, when the father is dead the younger brother worships the elder. So also the wife's god is her husband; for higher even than that of the priest is the husband's divinity (III. 206). The wife's religious service is not concerned with feasts to the Manes, with sacrifice to the gods, nor with studying the Veda. In all these she has no part. Her religion is to serve her husband (III. 205. 23), and to die, if worthy of the honor, on his funeral pyre. Otherwise the epic woman has religious practices only in visiting the holy watering-places, which now abound, and in reading the epic itself. For it is said of both practices: "Whether man or woman read this book (or 'visit this holy pool') he or she is freed from sin" (so in III. 82. 33: "Every sin committed since birth by man or woman is absolved by bathing in 'holy Pushkara"). It may be remarked that as a general thing the deities invoked by women are, by predilection, female divinities, some of them being mere abstractions, while 'the Creator' is often the only god in the woman's list, except, of course, the priests: "Reverence to priests, and to the Creator … May Hr[=i], Çr[=i] (Modesty and Beauty), Fame, Glory, Prosperity, Um[=a] (Çiva's wife), Lakshmi (Vishnu's wife), and also Sarasvat[=i], (may all these female divinities) guard thy path, because thou reverest thy elder brother," is a woman's prayer (III. 37. 26-33).[45]
Of the sectarian cults just mentioned the brahmamaha, I. 164. 20, elsewhere referred to, is the all-caste[46] feast in honor of Brahm[=a] (or of the Brahmans); as ib. 143. 3 one finds a sam[=a]ja in honor of Çiva; and distinctly in honor of the same god of horror is the sacrifice, i.e., immolation, of one hundred kings, who are collected "in the temple of Çiva," to be slaughtered like cattle in M[=a]gadha (II. 15. 23); an act which the heroes of the epic prevent, and look upon with scorn.[47] As a substitute for the r[=a]jas[=u]ya, which may be connected with the human sacrifice (Ind. Streifen, I. 61), but is the best sacrifice because it has the best largesse (III. 255. 12), the Vaishnava is suggested to Duryodhana. It is a great sattram or long sacrifice to Vishnu (ib. 15 and 19); longer than a Vishnuprabodha (26 Oct.). There is a Smriti rite described in III. 198. 13 as a svastiv[=a]canam, a ceremony to obtain a heavenly chariot which brings prosperity, the priests being invoked for blessings (svasti). Quite modern, comparatively speaking, is the cult of holy pools; but it is to be observed that the blessings expected are rarely more than the acquirement of brahma-worlds, so that the institution seems to be at least older than the sectarian religions, although naturally among the holy pools is intruded a Vishnu-pool. This religious rite cannot be passed over in silence. The custom is late Brahmanic (as above), and still survives. It has been an aspect of Hindu religion for centuries, not only in the view taken of the pools, but even occasionally in the place itself. Thus the Ganges, Gay[=a], Pray[=a]ga, and Kuru-Plain are to-day most holy, and they are mentioned as among the holiest in the epic catalogue.[48] Soma is now revamped by a bath in a holy pool (IX. 35. 75). As in every antithesis of act and thought there are not lacking passages in the epic which decry the pools in comparison with holy life as a means of salvation. Thus in III. 82. 9 ff., the poet says: "The fruit of pilgrimage (to holy pools)—he whose hands, feet, and mind are controlled;[49] he who has knowledge, asceticism, and fame, he gets all the fruit that holy pools can give. If one is averse from receiving gifts, content, freed from egoism, if one injures not, and acts disinterestedly, if one is not gluttonous, or carnal-minded, he is freed from sin. Let one (not bathe in pools but) be without wrath, truthful, firm in his vows, seeing his self in all beings." This is, however, a protest little heeded.[50] Pilgrimage is made to pool and plain, to mountain, tree, and river. Even then, as now, of all pilgrimages that to Ganges was most esteemed: "Originally all were holy; in the second age Pushkara[51] was holy; in the third age the Plain of the Kurus was holy; and in this age Ganges is holy" (III. 85. 90).[52] Besides Ganges, the Plain of the Kurus and Pray[=a]ga, the junction of Ganges and Jumna, get the highest laudation. Other rivers, such as the Gomal and Sarasvat[=i], are also extolled, and the list is very long of places which to see or to bathe in releases from sin. "He who bathes in Ganges purifies seven descendants.[53] As long as the bones of a man touch Ganges-water so long that man is magnified in heaven." Again: "No place of pilgrimage is better than Ganges; no god is better than Vishnu; nothing is better than brahma—so said the sire of the gods" (iii. 85. 94-96). The very dust of Kuru-Plain makes one holy, the sight of it purifies; he that lives south of the Sarasvat[=i], north of the Drishadvat[=i] (i.e., in Kuru-Plain), he lives in the third heaven (iii. 83. 1-3=203-205[54]). This sort of expiation for sin is implied in a more general way by the remark that there are three kinds of purity, one of speech, one of act, and one of water (iii. 200. 82). But in the epic there is still another means of expiating sin, one that is indicated in the Brahmanic rule that if a woman is an adulteress she destroys half her sin by confessing it (as above), where, however, repentance is rather implied than commanded. But in the epic Pur[=a]na it is distinctly stated as a Çruti, or trite saying, that if one repents he is freed from his sin; na tat kury[=a]m punar is the formula he must use, 'I will not do so again,' and then he is released from even the sin that he is going to commit a second time, as if by a ceremony—so is the Çruti in the laws, dharmas (iii. 207. 51, 52).[55] Confession to the family priest is enjoined, in xii. 268. 14, to escape punishment.
Two other religious practices in the epic are noteworthy. The first is the extension of idolatry in pictures. The amiable 'goddess of the house' is represented, to be sure, as a R[=a]kshas[=i], or demoniac power, whose name is Jar[=a]. But she was created by the Self-existent, and is really very friendly, under certain conditions: "Whoever delineates me with faith in his house, he increases in children; otherwise he would be destroyed." She is worshipped, i.e., her painted image is worshipped, with perfumes, flowers, incense, food, and other enjoyable things (II. 18).[56] Another practice that is very common is the worship of holy trees. One may compare the banyan at Bodhi Gay[=a] with the 'worshipful' village-tree of II. 24. 23. Seldom and late is the use of a rosary mentioned (e.g., III. 112. 5, aksham[=a]l[=a], elsewhere aksha), although the word is employed to make an epithet of Çiva, Aksham[=a]lin.[57]
As has been said already, an extraordinary power is ascribed to the mere repetition of a holy text, mantra. These are applied on all occasions without the slightest reference to the subject. By means of mantra one exorcises; recovers weapons; calls gods and demons, etc.[58] When misfortune or disease arrives it is invariably ascribed to the malignant action of a devil, although the karma teaching should suggest that it was the result of a former misdeed on the victim's part. But the very iteration, the insistence on new explanations of this doctrine, show that the popular mind still clung to the old idea of demoniac interference. Occasionally the naïveté with which the effect of a mantra is narrated is somewhat amusing, as, for instance, when the heroine Krishn[=a] faints, and the by-standers "slowly" revive her "by the use of demon-dispelling mantras, rubbing, water, and fanning" (iii. 144. 17). All the weapons of the heroes are inspired with and impelled by mantras.
Sufficient insight into the formal rules of morality has been given in the extracts above, nor does the epic in this regard differ much from the law-books. Every man's first duty is to act; inactivity is sinful. The man that fails to win a good reputation by his acts, a warrior, for example, that is devoid of fame, a 'man of no account,' is a bh[=u]mivardhana, [Greek: achthos arourês] a cumberer of earth (iii. 35. 7). A proverb says that man should seek virtue, gain, and pleasure; "virtue in the morning; gain at noon; pleasure at night," or, according to another version, "pleasure when young, gain in middle-age, and virtue in the end of life" (iii. 33. 40, 41). "Virtue is better than immortality and life. Kingdom, sons, glory, wealth, all this does not equal one-sixteenth part of the value of truth" (ib. 34. 22).[59] One very strong summing up of a discourse on virtuous behavior ends thus: "Truth, self-control, asceticism, generosity, non-injury, constancy in virtue—these are the means of success, not caste nor family" (j[=a]ti, kula, iii. 181. 42).
A doctrine practiced, if not preached, is that of blood-revenge. "The unavenged shed tears, which are wiped away by the avenger" (iii. 11. 66); and in accordance with this feeling is the statement: "I shall satiate my brother with his murderer's blood, and thus, becoming free of debt in respect of my brother, I shall win the highest place in heaven" (ib. 34, 35).
As of old, despite the new faith, as a matter of priestly, formal belief, all depends on the sacrifice: "Law comes from usage; in law are the Vedas established; by means of the Vedas arise sacrifices; by sacrifice are the gods established; according to the rule of Vedas, and usage, sacrifices being performed support the divinities, just as the rules of Brihaspati and Uçanas support men" (iii. 150. 28, 29). The pernicious doctrine of atonement for sin follows as a matter of course: "Whatever sin a king commits in conquering the earth is atoned for by sacrifices, if they are accompanied with large gifts to priests, such as cows and villages." Even gifts to a sacred bull have the same effect (iii. 33. 78, 79; ib. 35. 34; iii. 2. 57), the occasion in hand being a king's violation of his oath.[60] Of these sacrifices a great snake-sacrifice forms the occasion for narrating the whole epic, the plot of which turns on the national vice of gambling.[61] For divine snakes are now even grouped with other celestial powers, disputing the victory of earthly combatants as do Indra and S[=u]rya: "The great snakes were on Arjuna's side; the little snakes were for Karna" (viii. 87. 44, 45).[62] They were (perhaps) the local gods of the Nagas (Snakes), a tribe living between the Ganges and Jumna.
The religion of the epic is multiform. But it stands, in a certain sense, as one religion, and from two points of view it is worthy of special regard. One may look upon it either as the summing up of Brahmanism in the new Hinduism, as the final expression of a religion which forgets nothing and absorbs everything; or one may study it as a belief composed of historical strata, endeavoring to divide it into its different layers, as they have been super-imposed one upon another in the course of ages. From the latter point of view the Vedic divinities claim the attention first. There are still traces of the original power of Agni and S[=u]rya, as we have shown, and Wind still makes with these two a notable triad,[63] whereas Indra, impotent as he is, hymnless as he is,—save in the oldest portions of the work,—still leads the gods, now godkins, of the ancient pantheon, and still, in theory, at least, off a paradise to the knight that dies nobly on the field.[64] But one sees at once that the preservation of the dignity of these deities is due to different causes. Indra cannot even save a snake that grasps his hand for safety; he wages war against the demons' 'triple town,' and signally fails of his purpose, for the demons are as strong as the gods, and there are D[=a]navendras as well as D[=a]navarshis.[65] But Indra is the figure-head of the whole ancient pantheon, and for this reason he plays so constant, if so weak, a rôle, in the epic. The only important thing in connection with him is his heaven. As an individual deity Indra lives, on the whole, only in the tales of old, for example, in that of his cheating Namuci (ix. 43. 32 ff.). Nothing new and clever is told of him which would indicate power, only a new trick or two, as when he steals from Karna. It is quite otherwise with Agni and S[=u]rya. They are not so vaguely identified with the one god as is 'Indra and the other Vasus.' It is merely because these gods are prominently forms of Vishnu that they are honored with hymns in the epic. This is seen from the nature of the hymns, and also from the fact that it is either as fire or as sun that Vishnu destroys at the end of the aeons. For it is, perhaps, somewhat daring to say, and yet it seems to be the fact, that the solar origin of Vishnu is not lost sight of.
The pantheistic Vishnu is the [=a]tm[=a], and Vishnu, after all, is but a form of fire. Therefore is it that the epic Vishnu is perpetually lapsing into fire; while fire and sun are doubly honored as special forms of the highest. It is, then, not so much on account of a survival of ancient dignity[66] that sun and fire stand so high, but rather because they are the nearest approach to the effulgence of the Supreme. Thus while in one place one is told that after seven suns have appeared the supreme gods become the fire of destruction and complete the ruin, in another he reads that it is the sun alone which, becoming twelvefold, does all the work of the Supreme.[67]
Indra has hymns and sacrifices, but although he has no so exalted hymn as comes to his 'friend Agni,' yet (in an isolated passage) he has a new feast and celebration, the account of which apparently belongs to the first period of the epic, when the worship of Indra still had significance. In i. 63, an Indramaha, or 'glorification of Indra,' is described a festivity extending over two days, and marked by the erection of a pole in honor of the god—a ceremony which 'even to-day,' it is said, is practiced.[68] The old tales of the fire-cult are retold, and new rites are known.[69] Thus in iii. 251. 20 ff., Prince Duryodhana resolves to starve to death (oblivious of the rule that 'a suicide goes to hell'), and since this is a religious ceremony, he clothes himself in old clothes and holy-grass, 'touches water,' and devotes himself with intense application to heaven. Then the devils of Rudra called D[=a]iteyas and D[=a]navas, who live underground ever since they were conquered by the gods, aided by priests, make a fire-rite, and with mantras "declared by Brihaspati and Uçanas, and proclaimed in the Atharva-Veda," raise a ghost or spirit, who is ordered to fetch Duryodhana to hell, which she immediately does.[70] The frequent connection of Brihaspati with the Atharva-Veda is of interest (above, p. 159). He is quite a venerable, if not wholly orthodox, author in the epic, and his 'rules' are often cited.[71]
That Vedic deity who, alone of pre-Vedic powers, still holds his proud place, Yama, the king of departed spirits, varies in the epic according to the period represented. In old tales he is still quite Vedic in character; he takes the dead man's soul off to his own realm. But, of course, as pantheism prevails, and eschatology becomes confused, Yama passes into a shadow, and at most is a bugbear for the wicked. Even his companions are stolen from another realm, and one hears now of "King Yama with his Rudras" (III. 237. 11),[72] while it is only the bad[73] that go to Yama (III. 200. 24), in popular belief, although this view, itself old, relapses occasionally into one still older, in accordance with which (ib. 49) all the world is hounded on by Yama's messengers, and comes to his abode. His home[74] in the south is now located as being at a distance of 86,000 leagues over a terrible road, on which passes a procession of wretched or happy mortals, even as they have behaved during life; for example, if one has generously given an umbrella during life he will have an umbrella on this journey, etc. The river in Yama's abode is called Pushpodaka, and what each drinks out of it is according to what he deserves to drink, cool water or filth (ib. 46, 58).[75] In the various descriptions it is not strange to find discordant views even in portions belonging approximately to the same period. Thus in contradistinction to the prevailing view one reads of Indra himself that he is Yamasya net[=a] Namuceçca hant[=a] 'Yama's leader, Namuci's slayer' (iii. 25. 10.), i.e., those that die in battle go to Yama.
On the other hand, in the later speculative portions, Yama is not death. "Yama is not death, as some think; he is one that gives bliss to the good, and woe to the bad."[76] Death and life are foolishness and lack of folly, respectively (literally, 'non-folly is non-mortality'), while folly and mortality are counter opposites. In pantheistic teaching there is, of course, no real death, only change. But death is a female power, personified, and sharply distinguished from Yama. Death as a means of change thus remains, while Yama is relegated to the guardianship of hell. The difference in regard to the latter subject, between earlier and later views, has been noted above. One comparatively early passage attempts to arrange the incongruous beliefs in regard to sams[=a]ra (re-birth) and hell on a sort of sliding scale, thus: "One that does good gets in the next life a good birth; one that does ill gets an ill birth"; more particularly: "By good acts one attains to the state of gods; by 'mixed' acts, to the state of man; by acts due to confusion of mind, to the state of animals and plants (viyon[=i][s.]u); by sinful acts one goes to hell" (adhog[=a]mi, iii. 209. 29-32).[77] Virtue must have been, as the epic often declares it to be, a 'subtile matter,' for often a tale is told to illustrate the fact that one goes to hell for doing what he thinks (mistakenly) to be right. Thus K[=a]uçika is sent to hell for speaking the truth, whereas he ought to have lied to save life (viii. 69. 53), for he was "ignorant of virtue's subtilty."[78] A passage (i. 74. 27 ff.) that is reflected in Manu (viii. 85-86) says that Yama V[=a]ivasvata takes away the sin of him with whom is satisfied "the one that witnesses the act, that stands in the heart, that knows the ground"; but Yama tortures him with whom this one (personified conscience) is dissatisfied. For "truth is equal to a thousand horse-sacrifices; truth is highest brahma" (ib. 103, 106).
Following downward the course of religious development, as reflected in the epic, one next finds traces of Brahmanic theology not only in the few passages where (Brahm[=a]) Praj[=a]pati remains untouched by sectarianism, but also in the harking back to old formulae. Thus the insistence on the Brahmanical sacredness of the number seventeen is preserved (xii. 269. 26; iii. 210. 20, etc); and Upanishadic is the "food is Praj[=a]pati" of iii. 200. 38 (Yama in 40). There is an interesting rehabilitation of the primitive idea of the Açvins in the new ascription of formal divinity to the (personified) Twilights (Sandhy[=a]) in iii. 200. 83, although this whole passage is more Puranic than epic. From the same source is the doctrine that the fruit of action expires at the end of one hundred thousand kalpas (ib. vs. 121). One of the oddest religious freaks in the epic is the sudden exaltation of the Ribhus, the Vedic (season-gods) artisans, to the position of highest gods. In that heaven of Brahm[=a], which is above the Vedic gods' heaven, there are the holy seers and the Ribhus, 'the divinities of the gods'; who do not change with the change of kalpas (as do other Vedic gods), III. 261. 19-23. One might almost imagine that their threefoldness was causative of a trinitarian identification with a supreme triad; but no, for still higher is the 'heaven of Vishnu' (vs. 37). The contrast is marked between this and [=A]it. Br. III. 30, where the Ribhus with some difficulty obtain the right to drink soma.
There is an aspect of the epic religion upon which it is necessary to touch before treating of the sectarian development. In the early philosophical period wise priests meet together to discuss theological and philosophical questions, often aided, and often brought to grief, by the wit of women disputants, who are freely admitted to hear and share in the discussion. When, however, pantheism, nay, even Vishnuism, or still more, Krishnaism, was an accepted fact upon what, then, was the wisdom of the priest expended? Apart from the epic, the best intellects of the day were occupied in researches, codifying laws, and solving, in rather dogmatic fashion, philosophical (theological) problems. The epic presents pictures of scenes which seem to be a reflection from an earlier day. But one sees often that the wisdom is commonplace, or even silly. In dialectics a sophistical subtlety is shown; in codifying moral rules, a tedious triteness; in amoebic passes of wit there are astounding exhibitions, in which the good scholiast sees treasures of wisdom, where a modern is obliged to take them in their literal dulness. Thus in III. 132. 18, a boy of twelve or ten (133. 16), who is divinely precocious, defeats the wise men in disputation at a sacrifice, and in the following section (134. 7 ff.) silences a disputant who is regarded as one of the cleverest priests. The conversation is recorded in full. In what does it consist? The opponent mentions a number of things which are one; the boy replies with a verse that gives pairs of things; the other mentions triads; the child cites groups of fours, etc., until the opponent, having cited only one half-verse of thirteens, can remember no more and stops, on which the child completes the verse, and is declared winner. The conundrums which precede must have been considered very witty, for they are repeated elsewhere: What is that wheel which has twelve parts and three hundred and sixty spokes, etc.? Year. What does not close its eye when asleep, what does not move when it is born, what has no heart, what increases by moving? These questions form one-half verse. The next half-verse gives the answers in order: fish, egg, stone, river. This wisdom in the form of puzzles and answers, brahmodya, is very old, and goes back to the Vedic period. Another good case in the epic is the demon Yaksha and the captured king, who is not freed till he answers certain questions correctly.[79] But although a certain amount of theologic lore may be gleaned from these questions, yet is it of greater interest to see how the priests discussed when left quietly to their own devices. And a very natural description of such a scene is extant. The priests "having some leisure"[80] or vacation from their labors in the king's house, sit down to argue, and the poet calls their discussion vita[n.][d.][=a], i.e., tricky sophistical argumentation, the description bearing out the justness of the phrase: "One cried, 'that is so,' and the other, 'it is not so'; one cried, 'and that is so,' and the other, 'it must be so'; and some by arguments made weak arguments strong, and strong weak; while some wise ones were always swooping down on their opponent's arguments, like hawks on meat."[81] In III. 2. 15, the type of clever priest is 'skilled in Yoga and S[=a][.n]khya,' who inculcates renunciation. This sage teaches that mental diseases are cured by Yoga; bodily, by medicine; and that desire is the root of ill.
But by far the most interesting theological discussion in the epic, if one except the Divine Song, is the conversation of the hero and heroine in regard to the cause of earthly happiness. This discussion is an old passage of the epic. The very fact that a woman is the disputant gives an archaic effect to the narration, and reminds one of the scenes in the Upanishads, where learned women cope successfully with men in displays of theological acumen. Furthermore, the theological position taken, the absence of Vishnuism, the appeal to the 'Creator' as the highest Power, take one back to a former age. The doctrine of special grace, which crops out in the Upanishads,[82] here receives its exposure by a sudden claim that the converse of the theory must also be true, viz., that to those not saved by grace and election God is as cruel as He is kind to the elect. The situation is as follows: The king and queen have been basely robbed of their kingdom, and are in exile. The queen urges the king to break the vow of exile that has been forced from him, and to take vengeance on their oppressors. The king, in reply, sings a song of forgiveness: "Forgiveness is virtue, sacrifice, Veda; forgiveness is holiness and truth; in the world of Brahm[=a] are the mansions of them that forgive." This song (III. 29. 36 ff.) only irritates the queen, who at once launches into the following interesting tirade (30. 1 ff.): "Reverence to the Creator and Disposer[83] who have confused thy mind! Hast thou not worshipped with salutation and honored the priests, gods, and manes? Hast thou not made horse-sacrifices, the r[=a]jas[=u]ya-sacrifice, sacrifices of every sort (pu[n.][d.]arika,[84] gosava)? Yet art thou in this miserable plight! Verily is it an old story (itih[=a]sa) that 'the worlds stand under the Lord's will.' Following the seed God gives good or ill in the case of all beings. Men are all moved by the divinity. Like a wooden doll, moving its limbs in the hands of a man, so do all creatures move in the Creator's hands. Man is like a bird on a string, like a bead on a cord. As a bull is led by the nose, so man follows the will of the Creator; he never is a creature of free will ([=a]tm[=a]dhina). Every man goes to heaven or to hell, as he is sent by the Lord's will. God himself, occupied with noble or with wicked acts, moves about among all created things, an unknown power (not known as 'this one'). The blessed God, who is self-created, the great forefather (prapit[=a]maha), plays with his creatures just as a boy plays with toys, putting them together and destroying them as he chooses. Not like a father is God to His creatures; He acts in anger. When I see the good distressed, the ignoble happy, I blame the Creator who permits this inequality. What reward does God get that he sends happiness to this sinful man (thy oppressor)? If it be true that only the individual that does the act is pursued by the fruit of that act (karma doctrine) then the Lord who has done this act is defiled by this base act of His. If, on the other hand, the act that one has done does not pursue and overtake the one that has done it, then the only agency on earth is brute force (this is the only power to be respected)—and I grieve for them that are without it!"
To this plea, which in its acknowledgment of the Creator as the highest god, no less than in its doubtful admission of the karma doctrine, is of peculiar interest, the king replies with a refutation no less worthy of regard: "Thy argument is good, clear and smooth, but it is heterodox (n[=a]stikyam). I have sacrificed and practiced virtue not for the sake of reward, but because it was right. I give what I ought to give, and sacrifice as I should. That is my only idea in connection with religious observances. There is no virtue in trying to milk virtue. Do not doubt. Do not be suspicious of virtue. He that doubts God or duty goes to hell (confusion), but he that does his duty and is free from doubt goes to heaven (becomes immortal). Doubt not scriptural authority. Duty is the saving ship. No other gets to heaven. Blame not the Lord Creator, who is the highest god. Through His grace the faithful gets immortality. If religious observances were without fruit the universe would go to destruction. People would not have been good for so many ages if there had been no reward for it. This is a mystery of the gods. The gods are full of mystery and illusion."
The queen, for all the world like that wise woman in the Upanishads, whose argument, as we showed in a preceding chapter, is cut short not by counter-argument, but by the threat that if she ask too much her head will fall off, recants her errors at this rebuke, and in the following section, which evidently is a later addition, takes back what she has said. Her new expression of belief she cites as the opinion of Brihaspati (32. 61, 62); but this is applicable rather to her first creed of doubt. Perhaps in the original version this authority was cited at the end of the first speech, and with the interpolation the reference is made to apply to this seer. Something like the queen's remarks is the doubtful saying of the king himself, as quoted elsewhere (III. 273. 6): "Time and fate, and what will be, this is the only Lord. How else could this distress have come upon my wife? For she has been virtuous always."
We turn now to the great sectarian gods, who eventually unite with Brahm[=a] to form a pantheistic trinity, a conception which, as we shall show, is not older than the fifth or sixth century after Christ.
* * * * *
FOOTNOTES:
[Footnote 1: The rival heresies seem also to belong to the East. There were thus more than half a dozen heretical bodies of importance agitating the region about Benares at the same time. Subsequently the Jains, who, as we have shown, were less estranged from Brahmanism, drifted westward, while the Buddhist stronghold remained in the East (both, of course, being represented in the South as well), and so, whereas Buddhism eventually retreated to Nep[=a]l and Tibet, the Jains are found in the very centres of old and new (sectarian) Brahmanism, Delhi, Mathur[=a], Jeypur, [=A]jm[=i]r.]
[Footnote 2: 'The wandering of R[=a]ma,' who is the sectarian representative of Vishnu.]
[Footnote 3: The 'Bh[=a]rata (tale)', sometimes called Mah[=a]-Bh[=a]rata, or Great Bh[=a]rata. The Vishnuite sectarianism here advocated is that of Krishna. But there is as much Çivaism in the poem as there is Vishnuism.]
[Footnote 4: Dramatic and lyric poetry is artificial even in language.]
[Footnote 5: Schroeder, p. 453, compares the mutual relation of the Mah[=a]bh[=a]rata and R[=a]m[=a]yana to that of the Nibelungenlied and the Parzival of Wolfram von Eschenbach. Jacobi, in his 'R[=a]m[=a]yana,' has lately claimed a considerable antiquity for the foundation legends of the R[=a]m[=a]yana, but he does not disprove the late completed form.]
[Footnote 6: i. 78. 10; see Bühler's Introduction.]
[Footnote 7: Jacobi seeks to put the completed nucleus at the time of the Christian era, but it must have been quite a large nucleus in view of the allusions to it in precedent literature. Holtztmann puts the completion at about 1000 A.D.; but in 700 A.D., it was complete, and most scholars will agree with Bühler that the present Mah[=a]-Bh[=a]rata was completed by the sixth or seventh century. In 533 A.D. it contained 100,000 distichs, that is, it was about the size it is now.]
[Footnote 8: By the time the drama began the epic was become a religious storehouse, and the actual epic story represented not a fifth of the whole work, so that, with its simple language, it must have seemed, as a literary production, very wearisome to the minds that delighted in the artificial compounds and romantic episodes of the drama and lyric. But even to-day it is recited at great fêtes, and listened to with rapt attention, as the rhapsodes with more or less dramatic power recite its holy verses.]
[Footnote 9: The later law-books say expressly that women and slaves have a right to use mantra, mantr[=a]dhik[=a]ri[n.]as. But the later legal Smritis are no more than disguised sectarian Pur[=a]nas.]
[Footnote 10: Compare the visit of the old Muni on the prince in iii. 262. 8. He is paramakopana, 'extremely irritable'; calls for food only to reject it; growls at the service, etc. Everything must be done 'quickly' for him. "I am hungry, give me food, quick," is his way of speaking, etc. (12). The adjective is one applied to the All-gods, paramakrodhinas.]
[Footnote 11: Each spiritual teacher instructed high-caste boys, in classes of four or five at most. In xii. 328. 41 the four students of a priest go on a strike because the latter wants to take another pupil besides themselves and his own son.]
[Footnote 12: The saints in the sky praise the combatants (vii. 188. 41; viii. 15. 27); and the gods roar approval of prowess "with roars like a lion's" (viii. 15. 33). Indra and S[=u]rya and the Apsarasas cool off the heroes with heavenly fans (ib. 90. 18). For the last divinities, see Holtzmann's essays, ZDMG. xxxii. 290; xxxiii. 631.]
[Footnote 13: The original author of the Mah[=a]bh[=a]rata is reputed to be of low caste, but the writers of the text as it is to-day were sectarian priests. It was written down, it is said, by Ganeça, 'lord of the troops' of Çiva, i. 1. 79, and some historic truth lies in the tale. The priests of Çiva were the last to retouch the poem, as we think.]
[Footnote 14: Agni-worship is partly affected by the doctrine that the Samvartaka fire (which destroys the world at the cycle's end) is a form of Vishnu. In Stambamitra's hymn it is said: "Thou, O Agni, art the all, in thee rests the universe … Sages know thee as single yet manifold. At the expiration of time thou burnest up the three worlds, after having created them. Thou art the originator and support of all beings" (i. 232. 12). Elsewhere more Vedic epithets are given, such as 'mouth of the gods' (ii. 31. 42), though here 'the Vedas are produced for Agni's sake.' In this same prayer one reads, 'may Agni give me energy; wind, give me breath; earth, give me strength; and water, give me health' (45). Agni, as well as Çiva, is the father of Kum[=a]ra K[=a]rtikeya, i.e., Skanda (ib. 44).]
[Footnote 15: But the Açvins are Ç[=u]dras In the 'cast-hood of gods' (the caste-order being Angirasas, [=A]dityas, Maruts and AÇvins), xii. 208. 23-25; and Indra in one passage refuses to associate with them, xiii. 157. 17 (cited by Holtzmann, ZDMG. xxxii. 321).]
[Footnote 16: Manibhadra, in iii. 64, is king of Yaksash; he
is the same with Kubera, ib. ch. 41 (V[=a]içinavana).]
[Footnote 17: In the Cosmogony the gods are the sons of the
Manes, xii. 312. 9.]
[Footnote 18: When the gods churn the ocean to get ambrosia,
an ancient tale of the epic, Mandara is the twirling-stick.
It is situated in modern Beh[=a]r, near Bhagalpur.]
[Footnote 19: III. 42; 139. 14, where the Ganges and Jumna are invoked together with the Vedic gods. So in III. 104 (Vindhya); and Damayanti prays to mountains. Mt. Meru is described in III. 163. 14 (compare I. 17. 5 ff.). In I. 18. 1 ff., is related the churning of the ocean, where Indra (vs. 12) places Mt. Mandara on Vishnu, the tortoise.]
[Footnote 20: Mbh. I. 30. 37, mamlur m[=a]ly[=a]ni dev[=a]n[=a]m, etc. The older belief was that the gods' garlands never withered; for the gods show no mortal signs, cast no shadows, etc.]
[Footnote 21: Compare the four hymnlets to Agni in i. 232. 7 ff.]
[Footnote 22: After the mention of the thirty-three gods, and Vishnu 'born after them,' it is said that the Açvins, plants, and animals, are Guhyakas (vs. 40), though in vs. 35: "Tvashtar's daughter, the wife of Savitar, as a mare (va[d.]av[=a]) bore in air the two Açvins" (see above), in Vedic style. For Çruti compare iii. 207. 47; 208. 6, 11.]
[Footnote 23: i. 23. 15 ff. His name is explained fancifully
in 30. 7.]
[Footnote 24: It is at the funeral feasts to the Manes that
the Mah[=a]bh[=a]rata is to be recited (i. 62. 37).]
[Footnote 25: Arjuna is an old name of Indra, and in the
epic Arjuna is Indra's son.]
[Footnote 26: The legal dharma or sitting at a debtor's
door, which still obtains in India, is, so far as we know,
not a very ancient practice. But its application in the case
of heralds (who become responsible) is epic.]
[Footnote 27: This is the covenant (with friends) of revenge; the covenant of mutual protection in the sacrifice is indicated by the 'protection covenant' of the gods (see the chapter on Brahmanism above, p. 192).]
[Footnote 28: See an essay on the Ruling Caste in the epic, in JAOS. xiii. 232 ff.]
[Footnote 29: Reverend Doctor H.C. Trumbull has kindly called our attention to Robert's Oriental Illustrations, p. 148 ff., where it is said that in India today the threshold is sacred. In reference to threshold offerings, common in the law, Dr. Trumbull's own forthcoming book on Covenants may be compared.]
[Footnote 30: But these are by no means the last examples of human sacrifices. Several of the modern Hindu sects have caused to be performed such sacrifices, even in this century.]
[Footnote 31: This can hardly mean 'put out on the river' as has been suggested as an explanation of the corpse 'thrown aside' in accordance with the earlier text, AV. xviii. 2. 34 (paropta), where the dead are 'buried, thrown aside, burned, or set out.']
[Footnote 32: It is assumed in XII. 364. 2 that "leaves and air" are food enough for a great saint. Compare below the actual asceticism of modern devotees.]
[Footnote 33: III. 25. 14: saptar[s.]ayas … divi viprabh[=a]nti. Compare ib. 261. 13, and the apocalypse in VII. 192. 52 ff., where Drona's soul ascends to heaven, a burning fire like a sun; In sharp contrast to the older 'thumbkin' soul which Yama receives and carries off in the tale of Satyavant. Compare also Arundhati in I. 233. 29.]
[Footnote 34: Described, as above, as a place of singers and dancers, where are the Vedic gods and sages, but no sinners or cowards (III. 42. 34 ff.).]
[Footnote 35: From another point of view the stars are of interest. They are favorable or unfavorable, sentient, kind, or cruel; influential in man's fate. Compare III. 200. 84, 85, where the sun is included with the grahas (planets) which influence men, and ib. 209. 21, tulyanak[.s]atrama[.n]gala.]
[Footnote 36: Other of Indra's spirits are the singers, Gandharvas and Apsarasas; also the horse-headed Kinnaras and C[=a]ranas, who, too, are singers; while later the Vidy[=a]dharas belong both to Indra and to Çiva. In modern times the South Indian Sittars, 'saints,' take their name from the Siddhas.]
[Footnote 37: In d[=a]nnavar[s.]i there is apparently the same sort of compound as in devar[s.]i and brahmar[s.]i, all associated with the siddhas in III. 169. 23. But possibly 'demons and seers' may be meant.]
[Footnote 38: III. 37. 32-35 (prapadye viçvedev[=a]n!).]
[Footnote 39: Weber finds in the Asuras' artisan, Asura Maya, a reminiscence of Ptolemaios. He is celebrated in I. 228. 39, and II. 1, and is the generai leader of the d[=a]navas, demons, perhaps originally a folk-name of enemies.]
[Footnote 40: See below. The formal division is, d[=a]iva, hatha, karma, i.e., man's fate depends on gods, Fate, and his own acts; although hatha, Fate, is often implied in d[=a]iva, 'the divine power.' But they are separated, for example, in iii. 183. 86.]
[Footnote 41: Compare the tales and xii. 148. 9, sat[=i] (suttee). In regard to the horse-sacrifice, compare Yama's law as expounded to Gautama: "The acts by which one gains bliss hereafter are austerities, purity, truth, worship of parents, and the horse-sacrifice." xii 129. 9, 10.]
[Footnote 42: Compare III. 200. 88, even pr[=a]k[r.]ta priests are divine and terrible (much more in later books). Here pr[=a]k[r.]ta, vulgar, is opposed to samsk[r.]ta, refined, priests.]
[Footnote 43: III. 185. 26-31.]
[Footnote 44: "My father and mother are my highest idol; I do for them what I do for Idols. As the three and thirty gods, with Indra foremost, are revered of all the world, so are my parents revered by me" (III. 214. 19, 20). The speaker further calls them paramam brahma, absolute godhead, and explains his first remark by saying that he offers fruits and flowers to his parents as if they were idols. In IV. 68. 57 a man salutes (abhivadya) his father's feet on entering into his presence. For the worship of parents compare XII. 108. 3; 128. 9, 10; 267. 31, XIII. 75. 26: "heroes in obedience to the mother."]
[Footnote 45: The marked Brahm[=a] Creator-worship is a bit
of feminine religious conservatism (see below).]
[Footnote 46: Weber has shown that men of low caste took a
subordinate part even in the r[=a]jas[=u]ya sacrifice.]
[Footnote 47: In II. 18. there is a brand-new festival
appointed in honor of a female fiend, etc.]
[Footnote 48: III. 84. 83 (87. 11). We see the first idea in
the injunction of Indra to 'wander,' as told in the tale of
Dogstail in the Brahmana (see above).]
[Footnote 49: The usual formula (also Avestan) is 'pure in
thought, speech, and act.' The comparison of the six senses
to unrestrained wild horses is familiar (III. 211. 24).]
[Footnote 50: There is, further, no unanimity in regard to
the comparative value of holy places. In XII. 152. 11,
Sarasvat[=i] is holier than Kurukshetra, etc.]
[Footnote 51: At Pushkara is Brahm[=a]'s only (?)
shrine—the account is legendary, but half historical. The
modern shrine at Ajm[=i]r seems to be meant.]
[Footnote 52: Ganges, according to epic legend, was a goddess who sacrificed herself for men when the earth was parched and men perished. Then Ganges alone of immortals took pity on men, and flinging herself from heaven became the stream divine. Her name among the gods is Alakanand[=a], the 'Blessed Damosel.']
[Footnote 53: In iii. 87.10, "ten descendants and ten ancestors." The epic, i. 170. 19, regards the Sarasvat[=i] and Jumna as parts of the sevenfold Ganges, which descends from the heavens as these three, and also as the Vitasth[=a] (Rathasth[=a]), Saray[=u], Gomat[=i], and Gan[d.]ak[=i]; being itself 'V[=a]itara[n.][=i] among the Manes.' So xii. 322. 32.]
[Footnote 54: According to the commentator the "(northern altar of the Father-god) Kurukshetra-Samantapañcakam, between Tarantuka, Arantuka, R[=a]mahrada, and Macakruka," mentioned in iii. 83. 208, lies in Benares; but this must be a late addition, as Kurukshetra's position is without doubt. Compare i. 2. i ff.; ix. 53. i, 23-25.]
[Footnote 55:
In ib. 47, mah[=a] d[r.]tiriv[=a]dhm[=a]ta[h.]
p[=a]pas, there is an interesting
reminiscence of Rig Veda, vii. 89. 2. The rules of virtue
are contained in Vedas and law-books, and the practice of
instructed men, ib. 83 (the 'threefold sign of
righteousness'). A Çruti cited from dharmas is not
uncommon, but the latter word is not properly used in so
wide a sense. See note below, p. 378.]
[Footnote 56: Some scholars see in the use of the verb, piç, a Vedic picturing of gods; but in all instances where this occurs it may be only the poet's mind-picture of the god 'adorned' with various glories.]
[Footnote 57: In VII. 201. 69, Çiva wears an aksham[=a]l[=a]. In XII. 38. 23, the C[=a]rv[=a]ka wears an aksha, for he is disguised as a bhikshu, beggar.]
[Footnote 58: It must be remembered that the person using the mantra probably did not understand what the words meant. The epic says, in fact, that the Vedas are unintelligible: brahma pracuracchalam, XII. 329. 6. But an older generation thought the same. In Nirukta, I. 15, K[=a]utsa is cited as saying that the mantras are meaningless.]
[Footnote 59: Compare xii. 174. 46: "The joy of earth and heaven obtained by the satisfaction of desire is not worth one-sixteenth of the bliss of dead desire."]
[Footnote 60: By generosity the Hindu poet means 'to priests.' In III. 200, where this is elaborated, sixteen persons are mentioned (vs. 4) to whom to give is not meritorious.]
[Footnote 61: Little is known in regard to the play. The dice are thrown on a board, 'odd and even' determine the contest here (III. 34. 5) ayuja and yuja. At times speed in counting is the way to win (Nala). Dicing is a regular part of the r[=a]jas[=u]ya sacrifice (Weber, p. 67), but not, apparently, an ancient trait.]
[Footnote 62: The snakes belong to Varuna and his region, as described in v. 98. It is on the head of the earth-upholding snake Çesha that Vishnu muses, III. 203.12. The reverence paid to serpents begins to be ritual in the Atharva Veda. Even in the Rig Veda there is the deification of the cloud-snake. In later times they answered to the Nymphs, being tutelary guardians of streams and rivers (Buhler). In i. 36, Çesha Ananta supports earth, and it is told why he does so.]
[Footnote 63: These three are the witnesses for the soul at the judgment, xii. 322. 55. V[=a]yu, Wind, is said to be even mightier than Indra, Yama, Indra and Varuna, ib. 155. 9, 10.]
[Footnote 64: But (in a later account) not if he dies ignobly; for if one is slain by a man of low caste he goes to hell, xii. 298. 7.]
[Footnote 65: Demoniac Indras (i.e., demon-leaders) and seers, xii. 166. 26.]
[Footnote 66: 'The god of gods,' who rains blood in i. 30. 36, is declared by the commentator to be—Parjanya! The gods are here defending Soma from the heavenly bird, Garuda, and nearly die of fright.]
[Footnote 67: xii. 313. 1-7, with the same watery finale as is usual.]
[Footnote 68: The morning prayer, etc, to the sun is, of course, still observed, e.g., vii. 186. 4. Indra is thanked for victory and invoked for rain (iii. 117. 11; i. 25. 7; Holtzmann, loc. cit. p. 326) in an hymn that is less fulsome than those to Agni and S[=u]rya.]
[Footnote 69: 111. 222, Atharvan's rediscovery of fire. As to Çrutis they are probably no more valuable than Smritis. The one given in iii. 208. 11, agnayo in[=a]i[.n]sak[=a]m[=a]s, seems to be adapted (cf. [=A]çv. Gs. iv. 1; the adjective, by the way, is still starred in Pw.). So [=A]çv. Gs. i. 15. 9, is repeated Mbh[=a]; i. 74. 63, as a "Vedic mantragr[=a]ma " (ang[=a]d ang[=a]t sambhavasi, etc.).]
[Footnote 70: The devils are on the Prince's side, and wish to keep him from death. The proverb is found ib. 252. 2; [=a]tmaty[=a]g[=i] hy adho y[=a]ti. The holy-grass is used in much the same way when R[=a]ma lies down by Ocean, resolved to die or persuade Ocean to aid him. The rites (vs. 24) are "in the Upanishad."]
[Footnote 71: According to XII. 59. 80-84, the 'treatise of
Brihaspati' comes from Çiva through Brahm[=a] and Indra.]
[Footnote 72: In Buddhism Yama's messengers are Yakkhas.
Scherman, loc. cit. p. 57.]
[Footnote 73: Compare II. 22. 26: gaccha yamak[s.]ayam, 'go to Yama's destruction'; whereas of a good man it is said, 'I will send Indra a guest' (VII, 27.8).]
[Footnote 74: Yamasya sadana. III. 11. 66. He now has hells, and he it is who will destroy the world. He is called 'the beautiful' (III. 41. 9), so that he must, if one take this Rudrian epithet with the citation above, be loosely (popularly) identified with Çiva, as god of death. See the second note below.]
[Footnote 75: The old story of a mortal's visit to Yama to learn about life hereafter (Çat. Br. xi. 6.1; Katha Up., of N[=a]ciketas) is repeated in xiii. 71.]
[Footnote 76: v. 42. 6: Çiva[h.] çiv[=a]n[=a]m açivo 'çiv[=a]n[=a]m (compare xii 187. 27: 'only fools say that the man is dead'). Dharma (Justice) seems at times to be the same with Yama. M[=a]ndavya goes to Dharma's sadana, home (compare Yama's sadana), just as one goes to Yama's, and interviews him on the justice of his judgments. As result of the angry interview the god is reborn on earth as a man of low caste, and the law is established that a child is not morally responsible for his acts till the twelfth year of his age (i.108. 8 ff.). When Kuru agrees to give half his life in order to the restoration of Pramadvar[=a], his wife, they go not to Yama but to Dharma to see if the exchange may be made, and he agrees (i. 9. 11 ff., a masculine S[=a]vitr[=i]i).]
[Footnote 77: The hells are described in xii. 322. 29 ff.
The sight of 'golden trees' presages death (ib. 44).]
[Footnote 78: The ordinary rule is that "no sin is greater than untruth," xii. 162. 24, modified by "save in love and danger of life" (Laws, passim).]
[Footnote 79: The same scenes occur in Buddhistic writings, where Yakkhas ask conundrums. For example, in the Hemavatasutta and [=A]tavakasutta the Yakkha asks what is the best possession, what brings bliss, and what is swettest, to which the answer is: faith, law, and truth, respectively.]
[Footnote 80: Karm[=a]ntaram up[=a]santas, i.e., vir[=a]mak[=a]lam upagacchantas.]
[Footnote 81: II. 36. 3 ff. The phraseology of vs. 5 is exactly that of [Greek: ton êttô ldgon kreittô poithnsi], but the Pundit's arguments are 'based on the law.']
[Footnote 82: See above. In a later period (see below) the question arises in regard to the part played by Creator and individual in the workings of grace, some claiming that man was passive; some, that he had to strive for grace.]
[Footnote 83: Perhaps ironical. In V. 175. 32, a woman cries out: "Fie on the Creator for this bad luck," conservative in belief, and outspoken in word.]
[Footnote 84: III. 30. 17. The gosava is a 'cow-sacrifice.' The pu[n.][d.]ar[=i]ka is not explained (perhaps 'elephant-sacrifice').]
* * * * *
CHAPTER XV.
HINDUISM (CONTINUED).—VISHNU AND ÇIVA.
In the epic the later union of the sectarian gods is still a novelty. The two characters remain distinct enough. Vishnu and Çiva are different gods. But each in turn represents the All-god, and consequently each represents the other. The Vishnu-worship which grew about Krish[n.]a, originally a friend of one of the epic characters, was probably at first an attempt to foist upon Vedic believers a sectarian god, by identifying the latter with a Vedic divinity. But, whatever the origin, Krishna as Vishnu is revered as the All-god in the epic. And, on the other hand, Çiva of many names has kept the marks of Rudra. Sometimes one, sometimes another, is taken as the All-god. At times they are compared, and then each sect reduces the god of the other to an inferior position. Again they are united and regarded as one. The Vishnu side has left the best literary representation of this religion, which has permeated the epic. It is pantheism, but not an impersonal pantheism. The Blessed Lord is the All. This is the simple base and crown of its speculation. It is like the personal development of Vedantic philosophy, only it is here degraded by the personality of the man-god, who is made the incarnate All-god. The Krishna of the epic as a man is a sly, unscrupulous fellow, continually suggesting and executing acts that are at variance with the knightly code of honor. He is king of Dv[=a]rak[=a] and ally of the epic heroes. But again, he is divine, the highest divinity, the avatar of the All-god Vishnu. The sectaries that see in Çiva rather than in Vishnu the one and only god, have no such representative to which to refer. For Çiva, as the historical descendant of the Vedic Rudra,—although even in his case there is an intrusion of local worship upon an older Vedic belief,—represents a terror-god, either the lightning, the fairest of the gods, or, when he appears on earth, a divine horror, or, again, "a very handsome young man."[1] These two religions, of Vishnu as Krishna and of Çiva alone, are not so much united in the epic as they are super-imposed upon the older worship of Brahm[=a], and indeed, in such a way that Çiva-worship, in a pantheistic sense, appears to be the latest of the three beliefs that have influenced the story.[2]
The personal pantheism of the older Vishnuism has in its form and teachings so close a resemblance to the Christian religion that it has always had a great attraction for occidental readers; while the real power of its "Divine Song" gives the latter a charm possessed by few of the scriptures of India. This Divine Song (or Song of the Blessed One) is at present a Krishnaite version of an older Vishnuite poem, and this in turn was at first an unsectarian work, perhaps a late Upanishad. It is accepted by Vishnuites as a kind of New Testament; and with the New Testament it has in truth much in common. It must be pointed out at the outset that there is here the closest connection with the later Upanishads. The verse, like that of the Katha Upanishad (quoted above), which stands almost at the beginning of the Song, is typical of the relation of the Song to the Upanishad. It will be noticed how the impersonal 'That,' i.e., absolute being, brahma, changes almost at once to the personal He ([=a]tm[=a] as Lord). As shows the whole Song, brahma throughout is understood to be personal.[3] The caste-position of the priest in the Git[=a] is owing to the religious exaltation of the poem; and the precedence of S[=a]man is not unusual in the latest portions of the epic (see below).]
To understand the religion which reaches its culmination in the epic no better course could be pursued than to study the whole of the Divine Song. It is, however, too long a production to be introduced here in its entirety; but the following extracts give the chief features of the work, than which nothing in Hindu literature is more characteristic, in its sublimity as in its puerilities, in its logic as in its want of it. It has shared the fate of most Hindu works in being interpolated injudiciously, so that many of the puzzling anomalies, which astound no less the reader than the hero to whom it was revealed, are probably later additions. It is a medley of beliefs as to the relation of spirit and matter, and other secondary matters; it is uncertain in its tone in regard to the comparative efficacy of action and inaction, and in regard to the practical man's means of salvation; but it is at one with itself in its fundamental thesis, that all things are each a part of One Lord, that men and gods are but manifestations of the One Divine Spirit, which, or rather whom, the Vishnuite re-writer identifies with Krishna, as Vishnu's present form.
The Divine Song, as it is revealed in the epic by Vishnu (-Krishna) to his favorite knight, Arjuna, begins thus: "Know that the 'That' in which is comprised the 'This' is indestructible. These bodies of the indestructible Eternal One have an end: but whoso knows Him as slayer, and whoso thinks Him to be slain, these two have not true wisdom. He slays not and is not slain. He is not born, he does not die at any time; nor will He, having been born, cease to be. Unborn, everlasting, eternal, He, the Ancient One, is not slain when the body is slain. As one puts away an old garment and puts on another that is new, so He, the embodied (Spirit), puts away the old body and assumes one that is new. Everlasting, omnipresent, firm, unchanging is He, the Eternal; indiscernible is He called, inconceivable, unchangeable."[4]
The Song now turns into a plea that the warrior who is hearing it should, as one born to be a soldier, be brave and fight, lest his sorrow for the slain be taken for fear; since "nothing is better for a warrior than a just fight," and "loss of fame is worse than death." Then follows (with the usual inconsequential 'heaven') "If thou art slain thou wilt obtain heaven, and if thou art victorious thou shalt enjoy earth; therefore, careless of pleasure and pain, get ready for the fight, and so thou wilt not incur sin. This is the knowledge declared in the S[=a]nkhya; hear now that of the Yoga," and the Divine Lord proceeds:
"Some are pleased with Vedic words and think that there is nothing else; their souls are full of desires; and they think that going to heaven is the chief thing. Yet have the Vedas reference only to the three qualities (of which all things partake). Be free from the three qualities (do not care for rewards). In action, not in fruit, is the chief thing. Do thy work, abiding by serene devotion (Yoga), rejecting every tie; be indifferent to success and failure. Serene devotion is called indifference (to such things). Action is lower than devotion of mind. Devotion is happiness. Do thou, wise in devotion, abandon the fruit that is sprung from action, and, freed from the bonds of birth, attain a perfect state."
S[=a]nkhya here means the philosophy of religion; Yoga is the philosophical state of mind, serene indifference, religious sang-froid the practical result of a belief in the S[=a]nkhya doctrine of the indestructibility of the spirit. In the following there is Vedantic teaching, as well as Sankhyan in the stricter sense.
On the warrior's asking for an explanation of this state of equipoise, the Deity gives illustrations of the balanced mind that is free from all attachments, serene, emancipated from desires, self-controlled, and perfectly tranquil. As the knight is astonished and confused at the contradiction, action and inactivity both being urged upon him, the Deity replies that there is a twofold law, that of S[=a]nkhyas consisting in knowledge-devotion, and that of Yogis in action-devotion. Idleness is not freedom from action. Freedom from attachment must be united with the accomplishment of such acts as should be performed. The deluded think that they themselves perform acts, but acts are not done by the spirit (self); they are done only by nature's qualities (this is S[=a]nkhya doctrine). "One should know the relation between the individual and Supreme Spirit, and with tranquil mind perform good acts. Let the deluded ones be, who are erroneously attached to action. The wise man should not cause those of imperfect knowledge to be unsettled in their faith, but he should himself not be attached to action. Each man should perform his own (caste) duties. One's own duty ill done is better than doing well another man's work."
The knight now asks what causes one to sin. The Deity answers: "Love and hate; for from love is born hate; and from anger, ignorance in regard to right and wrong; whence comes lack of reason, and consequently destruction. The knowledge of a man is enwrapped with desire as is fire with smoke. Great are the senses; greater, the mind; greater still, the understanding; greatest of all is 'That'" (brahma; as above in the Ch[=a]ndogya). The Deity begins again:[5] "This system of devotion I declared to Vivasvant (the sun); Vivasvant declared it to Manu, and Manu to kingly seers." (The same origin is claimed for itself in Manu's lawbook.) The knight objects, not yet knowing that Krishna is the All-god: "How did'st thou declare it first? thy birth is later than the sun's." To whom the Deity: "Many are my births, and I know them all; many too are thine, but thou knowest them not; unborn and Lord of all creatures I assume phenomena, and am born by the illusion of the spirit. Whenever there is lack of righteousness, and wrong arises, then I emit (create) myself.[6] I am born age after age for the protection of the good, for the destruction of the wicked, and for the sake of establishing righteousness. Whoso really believes in this my divine birth and work, he, when he has abandoned his body, enters no second birth, but enters Me. Many there are who, from Me arising, on Me relying, purified by the penance of knowledge, with all affections, fear, and anger gone, enter into my being. As they approach Me so I serve them.[7] Men in all ways follow after my path. Some desire the success that is of action, and worship gods; for success that is born of action is speedy in the world of men. Know Me as the maker of the four castes, know Me as the unending one and not the maker. Action stains Me not, for in the fruit of action I have no desire. He that thus knows Me is not bound by acts.[8] So he that has no attachment is not bound by acts. His acts become naught. Brahma is the oblation, and with brahma is it offered; brahma is in the fire, and by brahma is the oblation made. Sacrifices are of many kinds, but he that sacrifices with knowledge offers the best sacrifice. He that has faith has knowledge; he that has knowledge obtains peace. He that has no knowledge and no faith, whose soul is one of doubt, is destroyed. Action does not destroy him that has renounced action by means of indifference. Of the two, renunciation of action and indifference, though both give bliss, indifference in action is better than renunciation of action. Children, not Pundits, proclaim S[=a]nkhya and Yoga to be distinct. He that is devoted to either alone finds the reward of both. Renunciation without Yoga is a thing hard to get; united with Yoga the seer enters brahma. … He is the renouncer and the devotee who does the acts that ought to be done without relying on the reward of action, not he that performs no acts and builds no sacrificial fires. Through his self (spirit) let one raise one's self. Conquer self by self (spirit). He is the best man who is indifferent to external things, who with equal mind sees (his spirit) self in everything and everything in self (God as the Spirit). Such an one obtains the highest bliss, brahma. Whoso sees Me in all and all in Me I am not destroyed for him, and he is not destroyed for Me."
The knight now asks how it fares with a good man who is not equal to the discipline of Yoga, and cannot free himself entirely from attachment. Does he go to destruction like a cloud that is rent, failing on the path that leads to brahma? The Deity replies: "Neither in this world nor in the beyond is he destroyed. He that acts virtuously does not enter an evil state. He obtains the heaven that belongs to the doers of good, and after living there countless summers is reborn on earth in the family of pure and renowned men, or of pious devotees. There he receives the knowledge he had in a former body, and then strives further for perfection. After many births he reaches perfection and the highest course (union with brahma). There are but few that strive for perfection, and of them only one here and there truly knows Me. Earth, water, fire, air, space, mind, understanding, and egoism (self-consciousness)—so is my nature divided into eight parts.[9] But learn now my higher nature, for this is my lower one. My higher nature is alive, and by it this world is supported. I am the creator and destroyer of all the world. Higher than I is nothing. On Me the universe is woven like pearls upon a thread. Taste am I, light am I of moon and sun, the mystic syllable [=O]m ([)a][)u]m), sound in space, manliness in men; I am smell and radiance; I am life and heat. Know Me as the eternal seed of all beings. I am the understanding of them that have understanding, the radiance of the radiant ones. Of the strong I am the force, devoid of love and passion; and I am love, not opposed to virtue. Know all beings to be from Me alone, whether they have the quality of goodness, of passion, or of darkness (the three 'qualities' or conditions of all things). I am not in them; but they are in Me. Me, the inexhaustible, beyond them, the world knows not, for it is confused by these three qualities (conditions); and hard to overcome is the divine illusion which envelops Me, while it arises from the qualities. Only they pass through this illusion who come to Me alone. Wicked men, whose knowledge is taken away by illusion, relying on a devilish (demoniac) condition, do not come to Me. They that have not the highest knowledge worship various divinities; but whatever be the form that any one worships with faith I make his faith steady. He obtains his desires in worshipping that divinity, although they are really bestowed upon him by Me.[10] But the fruit of these men, in that they have little wisdom, has its end. He that sacrifices to (lesser) gods goes to those gods; but they that worship Me come to Me. I know the things that were, that are, and are to be; but Me no one knoweth, for I am enveloped in illusion. I am the supreme being, the supreme godhead, the supreme sacrifice, the Supreme Spirit, brahma."
The knight asks "What is brahma, the Supreme Spirit, the supreme being, the supreme sacrifice?" The Deity: "The supreme, the indestructible, is called brahma. Its personal existence is Supreme Spirit (self). Destructible existence is supreme being (all except [=a]tm[=a]). The Person is the supreme godhead. I myself am the supreme sacrifice in this body."
Then follow statements like those in the Upanishads and in Manu, describing a day of brahma as a thousand ages; worlds are renewed; they that go to the gods find an end of their happiness with the end of their world; but they that go to the indestructible brahma, the Deity, the entity that is not destroyed when all else is destroyed, never again return. There are two roads (as in the Upanishads above), one, the northern road leading to brahma; one, the southern road to the moon, leading back to earth. At the end of a period of time all beings reënter the divine nature (Prakriti[11]), and at the beginning of the next period the Deity emits them again and again (they being without volition) by the volition of his nature. "Through Me, who am the superintendent, nature gives birth to all things, and for that cause the world turns about. They of demoniac nature recognize me not; they of god-like nature, knowing Me as the inexhaustible source, worship Me. I am the universal Father, the Vedas, the goal, the upholder, the Lord, the superintendent, the home, the asylum, the friend. I am the inexhaustible seed. I am immortality and death. I am being and not-being. I am the sacrifice and he that offers it. Even they that, with faith, sacrifice to other gods, even they (really) sacrifice to Me. To them that ever are devout and worship Me with love (faith), I give the attainment of the knowledge by which they come to Me" (again the doctrine of special grace). "I am the beginning, the middle, and the end of all created things. I am Vishnu among sun-gods; the moon among the stars; Indra among the (Vedic) gods; the S[=a]man among the Vedas; among the senses, mind; among created beings, consciousness; among the Rudras I am Çiva (Çankara); among army-leaders I am Skanda; among the great sages I am Bhrigu (who reveals Manu's code); among the Siddhas[12] I am Kapila the Muni…. I am the love that begets; I am the chief (V[=a]suki and Ananta) among the serpents; and among them that live in water I am Varuna; among the Manes I am Aryaman; and I am Yama among controllers;[13] among demons I am Prahl[=a]da …; I am R[=a]ma; I am the Ganges. I am among all sciences the highest science (that in regard to the Supreme Spirit); I am the word of the speakers; I am the letter A among the letters, and the compound of union among the compounds.[14] I am indestructible time and I am the Creator. I am the death that seizes all and I am the origin of things to be. I am glory, fortune, speech, memory, wisdom, constancy, and mercy…. I am the punishment of the punisher and the polity of them that would win victory. I am silence. I am knowledge. There is no end of my divine manifestations."