You will have observed the coincidences between the Arabic and the Sanskrit versions, but also a considerable divergence, particularly in the winding up of the story. The Brahman and the holy man both build their castles in the air; but, while the former kicks his wife, the latter only chastises his son. How this change came to pass we cannot tell. One might suppose that, at the time when the book was translated from Sanskrit into Pehlevi, or from Pehlevi into Arabic, the Sanskrit story was exactly like the Arabic story, and that it was changed afterwards. But another explanation is equally admissible, viz., that the Pehlevi or the Arabic translator wished to avoid the offensive behavior of the husband kicking his wife, and therefore substituted the son as a more deserving object of castigation.
We have thus traced our story from Sanskrit to Pehlevi, and from Pehlevi to Arabic; we have followed it in its migrations from the hermitages of Indian sages to the court of the kings of Persia, and from thence to the residence of the powerful Khalifs at Bagdad. Let us recollect that the Khalif Almansur, for whom the Arabic translation was made, was the contemporary of Abderrhaman, who ruled in Spain, and that both were but little anterior to Harun al Rashid and Charlemagne. At that time, therefore, the way was perfectly open for these Eastern fables, after they had once reached Bagdad, to penetrate into the seats of Western learning, and to spread to every part of the new empire of Charlemagne. They may have done so, for all we know; but nearly three hundred years pass before these fables meet us again in the literature of Europe. The Carlovingian empire had fallen to pieces, Spain had been rescued from the Mohammedans, William the Conqueror had landed in England, and the Crusades had begun to turn the thoughts of Europe towards the East, when, about the year 1080, we hear of a Jew of the name of Symeon, the son of Seth, who translated these fables from Arabic into Greek. He states in his preface that the book came originally from India, that it was brought to the King Chosroes of Persia, and then translated into Arabic. His own translation into Greek must have been made from an Arabic MS. of the “Kalila and Dimna,” in some places more perfect, in others less perfect, than the one published by De Sacy. The Greek text has been published, though very imperfectly, under the title of “Stephanites and Ichnelates.”19 Here our fable is told as follows (p. 337):—
“It is said that a beggar kept some honey and butter in a jar close to where he slept. One night he thus thought within himself: ‘I shall sell this honey and butter for however small a sum; with it I shall buy ten goats, and these in five months will produce as many again. In five years they will become four hundred. With them I shall buy one hundred cows, and with them I shall cultivate some land. And what with their calves and the harvests, I shall become rich in five years, and build a house with four wings,20 ornamented with gold, and buy all kinds of servants, and marry a wife. She will give me a child, and I shall call him Beauty. It will be a boy, and I shall educate him properly; and if I see him lazy, I shall give him such a flogging with this stick. . . . .’ With these words he took a stick that was near him, struck the jar, and broke it, so that the honey and milk ran down on his beard.”
This Greek translation might, no doubt, have reached La Fontaine; but as the French poet was not a great scholar, least of all a reader of Greek MSS., and as the fables of Symeon Seth were not published till 1697, we must look for other channels through which the old fable was carried along from East to West.
There is, first of all, an Italian translation of the “Stephanites and Ichnelates,” which was published at Ferrara in 1583.21,B The title is, “Del Governo de’ Regni. Sotto morali essempi di animali ragionanti tra loro. Tratti prima di lingua Indiana in Agarena da Lelo Demno Saraceno. Et poi dall’ Agarena nella Greca da Simeone Setto, philosopho Antiocheno. Et hora tradotti di Greco in Italiano.” This translation was probably the work of Giulio Nuti.
There is, besides, a Latin translation, or rather a free rendering of the Greek translation by the learned Jesuit, Petrus Possinus, which was published at Rome in 1666.22,C This may have been, and, according to some authorities, has really been one of the sources from which La Fontaine drew his inspirations. But though La Fontaine may have consulted this work for other fables, I do not think that he took from it the fable of Perrette and the milk-pail.
The fact is, these fables had found several other channels through which, as early as the thirteenth century, they reached the literary market of Europe, and became familiar as household words, at least among the higher and educated classes. We shall follow the course of some of these channels. First, then, a learned Jew, whose name seems to have been Joel, translated our fables from Arabic into Hebrew (1250?). His work has been preserved in one MS. at Paris, but has not yet been published, except the tenth book, which was communicated by Dr. Neubauer to Benfey’s journal, “Orient und Occident” (vol. i. p. 658). This Hebrew translation was translated by another converted Jew, Johannes of Capua, into Latin. His translation was finished between 1263–1278, and, under the title of “Directorium Humanæ Vitæ,” it became very soon a popular work with the select reading public of the thirteenth century.23,D In the “Directorium,” and in Joel’s translation, the name of Sendebar is substituted for that of Bidpay. The “Directorium” was translated into German at the command of Eberhard, the great Duke of Würtemberg,24,E and both the Latin text and the German translation occur, in repeated editions, among the rare books printed between 1480 and the end of the fifteenth century.25 A Spanish translation, founded both on the German and the Latin texts, appeared at Burgos in 1493;26 and from these different sources flowed in the sixteenth century the Italian renderings of Firenzuola (1548)27 and Doni (1552).28 As these Italian translations were repeated in French29 and English, before the end of the sixteenth century, they might no doubt have supplied La Fontaine with subjects for his fables.
But, as far as we know, it was a third channel that really brought the Indian fables to the immediate notice of the French poet. A Persian poet, of the name of Nasr Allah, translated the work of Abdallah ibn Almokaffa into Persian about 1150. This Persian translation was enlarged in the fifteenth century by another Persian poet, Husain ben Ali called el Vaez, under the title of “Anvári Suhaili.”30 This name will be familiar to many members of the Indian Civil Service, as being one of the old Haileybury class-books which had to be construed by all who wished to gain high honors in Persia. This work, or at least the first books of it, were translated into French by David Sahid of Ispahan, and published at Paris in 1644, under the title of “Livre des Lumières, ou, la Conduite des Rois, composé par le Sage Pilpay, Indien.” This translation, we know, fell into the hands of La Fontaine, and a number of his most charming fables were certainly borrowed from it.
But Perrette with the milk-pail has not yet arrived at the end of her journey, for if we look at the “Livre des Lumières,” as published at Paris, we find neither the milkmaid nor her prototype, the Brahman who kicks his wife, or the religious man who flogs his boy. That story occurs in the later chapters, which were left out in the French translation; and La Fontaine, therefore, must have met with his model elsewhere.
Remember that in all our wanderings we have not yet found the milkmaid, but only the Brahman or the religious man. What we want to know is who first brought about this metamorphosis.
No doubt La Fontaine was quite the man to seize on any jewel which was contained in the Oriental fables, to remove the cumbersome and foreign-looking setting, and then to place the principal figure in that pretty frame in which most of us have first become acquainted with it. But in this case the charmer’s wand did not belong to La Fontaine, but to some forgotten worthy, whose very name it will be difficult to fix upon with certainty.
We have, as yet, traced three streams only, all starting from the Arabic translation of Abdallah ibn Almokaffa, one in the eleventh, another in the twelfth, a third in the thirteenth century, all reaching Europe, some touching the very steps of the throne of Louis XIV., yet none of them carrying the leaf which contained the story of “Perrette,” or of the “Brahman,” to the threshold of La Fontaine’s home. We must, therefore, try again.
After the conquest of Spain by the Mohammedans, Arabic literature had found a new home in Western Europe, and among the numerous works translated from Arabic into Latin or Spanish, we find towards the end of the thirteenth century (1289) a Spanish translation of our fables, called “Calila é Dymna.”31,F In this the name of the philosopher is changed from Bidpai to Bundobel. This, or another translation from Arabic, was turned into Latin verse by Raimond de Béziers in 1313 (not published).
Lastly, we find in the same century another translation from Arabic straight into Latin verse, by Baldo, which became known under the name of “Æsopus alter.”32,G
From these frequent translations, and translations of translations, in the eleventh, twelfth, and thirteenth centuries, we see quite clearly that these Indian fables were extremely popular, and were, in fact, more widely read in Europe than the Bible, or any other book. They were not only read in translations, but having been introduced into sermons,33,H homilies, and works on morality, they were improved upon, acclimatized, localized, moralized, till at last it is almost impossible to recognize their Oriental features under their homely disguises.
I shall give you one instance only.
Rabelais, in his “Gargantua,” gives a long description how a man might conquer the whole world. At the end of this dialogue, which was meant as a satire on Charles V., we read:—
“There was there present at that time an old gentleman well experienced in the wars, a stern soldier, and who had been in many great hazards, named Echephron, who, hearing this discourse, said: ‘J’ay grand peur que toute ceste entreprise sera semblable à la farce du pot au laict duquel un cordavanier se faisoit riche par resverie, puis le pot cassé, n’eut de quoy disner.’”
This is clearly our story, only the Brahman has, as yet, been changed into a shoemaker only, and the pot of rice or the jar of butter and honey into a pitcher of milk. Now it is perfectly true that if a writer of the fifteenth century changed the Brahman into a shoemaker, La Fontaine might, with the same right, have replaced the Brahman by his milkmaid. Knowing that the story was current, was, in fact, common property in the fifteenth century, nay, even at a much earlier date, we might really be satisfied after having brought the germs of “Perrette” within easy reach of La Fontaine. But, fortunately, we can make at least one step further, a step of about two centuries. This step backwards brings us to the thirteenth century, and there we find our old Indian friend again, and this time really changed into a milkmaid. The book I refer to is written in Latin, and is called, “Dialogus Creaturarum optime moralizatus;” in English, the “Dialogue of Creatures moralized.” It was a book intended to teach the principles of Christian morality by examples taken from ancient fables. It was evidently a most successful book, and was translated into several modern languages. There is an old translation of it in English, first printed by Rastell,34 and afterwards repeated in 1816. I shall read you from it the fable in which, as far as I can find, the milkmaid appears for the first time on the stage, surrounded already by much of that scenery which, four hundred years later, received its last touches at the hand of La Fontaine.
“Dialogo C. (p. ccxxiii.) For as it is but madnesse to trust to moche in surete, so it is but foly to hope to moche of vanyteys, for vayne be all erthly thinges longynge to men, as sayth Davyd, Psal. xciiii: Wher of it is tolde in fablys that a lady uppon a tyme delyvered to her mayden a galon of mylke to sell at a cite, and by the way, as she sate and restid her by a dyche side, she began to thinke that with the money of the mylke she wold bye an henne, the which shulde bringe forth chekyns, and when they were growyn to hennys she wolde sell them and by piggis, and eschaunge them in to shepe, and the shepe in to oxen, and so whan she was come to richesse she sholde be maried right worshipfully unto some worthy man, and thus she reioycid. And whan she was thus mervelously comfortid and ravisshed inwardly in her secrete solace, thinkynge with howe greate ioye she shuld be ledde towarde the chirche with her husbond on horsebacke, she sayde to her self: ‘Goo we, goo we.’ Sodaynlye she smote the ground with her fote, myndynge to spurre the horse, but her fote slypped, and she fell in the dyche, and there lay all her mylke, and so she was farre from her purpose, and never had that she hopid to have.”35
Here we have arrived at the end of our journey. It has been a long journey across fifteen or twenty centuries, and I am afraid our following Perrette from country to country, and from language to language, may have tired some of my hearers. I shall, therefore, not attempt to fill the gap that divides the fable of the thirteenth century from La Fontaine. Suffice it to say, that the milkmaid, having once taken the place of the Brahman, maintained it against all comers. We find her as Dona Truhana, in the famous “Conde Lucanor,” the work of the Infante Don Juan Manuel,36,I who died in 1347, the grandson of St. Ferdinand, the nephew of Alfonso the Wise, though himself not a king, yet more powerful than a king; renowned both by his sword and by his pen, and possibly not ignorant of Arabic, the language of his enemies. We find her again in the “Contes et Nouvelles” of Bonaventure des Periers,K published in the sixteenth century, a book which we know that La Fontaine was well acquainted with. We find her after La Fontaine in all the languages of Europe.37
| OLD COLLECTION OF INDIAN FABLES. | |||||||||||
| A.D. | |||||||||||
| 500–600 |
531–579. Khosru Nushirvan, King of Persia; his physician, Barzûyeh, translates the Indian fables into Pehlevi, s. t. “Qalilag and Damnag” (lost). 570. Translation of the “Qualilag and Damnag,” from Indian into Syriac, by Bud Periodeutes (Benfey and Socin). |
||||||||||
| 700–800 | 754–775. Khalif Almansur. Abdallah ibn Almokaffa (d. 760) translates the Pehlevi into Arabic (ed. de Sacy, 1816). | ||||||||||
| 900–1000 | |||||||||||
| 1000–1100 | 1080. Into Greek, by Simeon Seth, s. t. “Ichnelates et Stephanites,” ed. Starkius, 1697. | ||||||||||
| 1100–1200 | 1118–53. Into Persian, by Abul Maali Nasr Allah (prose). | ||||||||||
| 1200–1300 | Into Latin by Baldo, s. t. Alter Æsopus (ed. du Méril). | 1289. Into Spanish, by order of the Infante Don Alfonso, s. t. “Calila é Dymna” (ed. de Gayangos) | 1250. Into Hebrew, by Rabbi Joel. | ||||||||
| 1263–78. Into Latin, by Johannes of Capua, s. t. “Directorium humanæ vitæ” (print. 1480). | |||||||||||
| 1300–1400 | 1313. Into Latin, by Raimond de Beziers, s. t. “Calila et Dimna.” | ||||||||||
| Into German under Eberhard, Duke of Würtemberg (d. 1325), printed before 1483. | |||||||||||
| 1400–1500 | 1494. Modernized in Persian, by Husain ben Ali, el Vaez, s. t. “Anvari Suhaili.” | 1493. Into Spanish, s. t. “Exemplario contra los Engaños.” | |||||||||
| 1500–1600 | 1590. New, by Abulfazl, for Akbar, “Ayari Danish.” | 1540. Into Turkish, by Ali Tchelebi, s. t. “Homayun Nameh.” | 1548. Into Italian, by Ange Firenzuola, s. t. “Discorsi degli Animali.” | ||||||||
| Translated into Hindustani, s. t.“Khirud Ufroz,” the Illuminator of the Understanding. | 1552. Into Italian, by Doni, s. t. “La Filosofia Morale.” | 1556. Into French, by Gabr. Cottier, s. t. “Le Plaisant Discours des Animaux.” | 1583. Into Italian, by G. Nuti, s. t. “Del Governo de’ Regni.” | ||||||||
| 1570. Into English, by North. | 1579. Into French, by Pierre de La Rivey, s. t. “Deux Livres de Filosofie Fabuleuse.” | ||||||||||
| 1600–1700 | 1644. Into French, by David Sahid d’Ispahan (Gaulmin), s. t. “Livre des Lumières, ou la Conduite des Rois, composé par le sage Pilpay, Indien” (4 cap. only). | —Into Spanish, by Brattuti, “Espejo politico,” 1654. |
1666. Into Latin, by Petrus Possinus. | ||||||||
| 1700–1800 | 1724. Into French, by Galland, s. t. “Les Contes et Fables Indiennes de Bibpaï et de Lokman” (4 cap. only); finished in 1778 by Cardonne. | ||||||||||
You see now before your eyes the bridge on which our fables came to us from East to West. The same bridge which brought us Perrette brought us hundreds of fables, all originally sprung up in India, many of them carefully collected by Buddhist priests, and preserved in their sacred canon, afterwards handed on to the Brahminic writers of a later age, carried by Barzûyeh from India to the court of Persia, then to the courts of the Khalifs at Bagdad and Cordova, and of the emperors at Constantinople. Some of them, no doubt, perished on their journey, others were mixed up together, others were changed till we should hardly know them again. Still, if you once know the eventful journey of Perrette, you know the journey of all the other fables that belong to this Indian cycle. Few of them have gone through so many changes, few of them have found so many friends, whether in the courts of kings or in the huts of beggars. Few of them have been to places where Perrette has not also been. This is why I selected her and her passage through the world as the best illustration of a subject which otherwise would require a whole course of lectures to do it justice.
But though our fable represents one large class or cluster of fables, it does not represent all. There were several collections, besides the Pancatantra, which found their way from India to Europe. The most important among them is the “Book of the Seven Wise Masters, or the Book of Sindbad,” the history of which has lately been written, with great learning and ingenuity, by Signor Comparetti.38
These large collections of fables and stories mark what may be called the high roads on which the literary products of the East were carried to the West. But there are, beside these high roads, some smaller, less trodden paths on which single fables, sometimes mere proverbs, similes, or metaphors, have come to us from India, from Persepolis, from Damascus and Bagdad. I have already alluded to the powerful influence which Arabic literature exercised on Western Europe through Spain. Again, a most active interchange of Eastern and Western ideas took place at a later time during the progress of the Crusades. Even the inroads of Mongolian tribes into Russia and the East of Europe kept up a literary bartering between Oriental and Occidental nations.
But few would have suspected a Father of the Church as an importer of Eastern fables. Yet so it is.
At the court of the same Khalif Almansur, where Abdallah ibn Almokaffa translated the fables of Calila and Dimna from Persian into Arabic, there lived a Christian of the name of Sergius, who for many years held the high office of treasurer to the Khalif. He had a son to whom he gave the best education that could then be given, his chief tutor being one Cosmas, an Italian monk, who had been taken prisoner by the Saracens, and sold as a slave at Bagdad. After the death of Sergius, his son succeeded him for some time as chief councillor (πρωτοσύμβουλος) to the Khalif Almansur. Such, however, had been the influence of the Italian monk on his pupil’s mind, that he suddenly resolved to retire from the world, and to devote himself to study, meditation, and pious works. From the monastery of St. Saba, near Jerusalem, this former minister of the Khalif issued the most learned works on theology, particularly his “Exposition of the Orthodox Faith.” He soon became the highest authority on matters of dogma in the Eastern Church, and he still holds his place among the saints both of the Eastern and Western Churches. His name was Joannes, and from being born at Damascus, the former capital of the Khalifs, he is best known in history as Joannes Damascenus, or St. John of Damascus. He must have known Arabic, and probably Persian; but his mastery of Greek earned him, later in life, the name of Chrysorrhoas, or Gold-flowing. He became famous as the defender of the sacred images, and as the determined opponent of the Emperor Leo the Isaurian, about 726. It is difficult in his life to distinguish between legend and history, but that he had held high office at the court of the Khalif Almansur, that he boldly opposed the iconoclastic policy of the Emperor Leo, and that he wrote the most learned theological works of his time, cannot be easily questioned.
Among the works ascribed to him is a story called “Barlaam and Joasaph.”39 There has been a fierce controversy as to whether he was the author of it or not. Though for our own immediate purposes it would be of little consequence whether the book was written by Joannes Damascenus or by some less distinguished ecclesiastic, I must confess that the arguments hitherto adduced against his authorship seem to me very weak.
The Jesuits did not like the book, because it was a religious novel. They pointed to a passage in which the Holy Ghost is represented as proceeding from the Father “and the Son,” as incompatible with the creed of an Eastern ecclesiastic. That very passage, however, has now been proved to be spurious; and it should be borne in mind, besides, that the controversy on the procession of the Holy Ghost from the Father and the Son, or from the Father through the Son, dates a century later than Joannes. The fact, again, that the author does not mention Mohammedanism,40 proves nothing against the authorship of Joannes, because, as he places Barlaam and Joasaph in the early centuries of Christianity, he would have ruined his story by any allusion to Mohammed’s religion, then only a hundred years old. Besides, he had written a separate work, in which the relative merits of Christianity and Mohammedanism are discussed. The prominence given to the question of the worship of images shows that the story could not have been written much before the time of Joannes Damascenus, and there is nothing in the style of our author that could be pointed out as incompatible with the style of the great theologian. On the contrary, the author of “Barlaam and Joasaph” quotes the same authors whom Joannes Damascenus quotes most frequently—e.g., Basilius and Gregorius Nazianzenus. And no one but Joannes could have taken long passages from his own works without saying where he borrowed them.41
The story of “Barlaam and Joasaph”—or, as he is more commonly called, Josaphat—may be told in a few words: “A king in India, an enemy and persecutor of the Christians, has an only son. The astrologers have predicted that he would embrace the new doctrine. His father, therefore, tries by all means in his power to keep him ignorant of the miseries of the world, and to create in him a taste for pleasure and enjoyment. A Christian hermit, however, gains access to the prince, and instructs him in the doctrines of the Christian religion. The young prince is not only baptized, but resolves to give up all his earthly riches; and after having converted his own father and many of his subjects, he follows his teacher into the desert.”
The real object of the book is to give a simple exposition of the principal doctrines of the Christian religion. It also contains a first attempt at comparative theology, for in the course of the story there is a disputation on the merits of the principal religions of the world—the Chaldæan, the Egyptian, the Greek, the Jewish, and the Christian. But one of the chief attractions of this manual of Christian theology consisted in a number of fables and parables with which it is enlivened. Most of them have been traced to an Indian source. I shall mention one only which has found its way into almost every literature of the world:42—
“A man was pursued by a unicorn, and while he tried to flee from it, he fell into a pit. In falling he stretched out both his arms, and laid hold of a small tree that was growing on one side of the pit. Having gained a firm footing, and holding to the tree, he fancied he was safe, when he saw two mice, a black and a white one, busy gnawing the root of the tree to which he was clinging. Looking down into the pit, he perceived a horrid dragon with his mouth wide open, ready to devour him, and when examining the place on which his feet rested, the heads of four serpents glared at him. Then he looked up, and observed drops of honey falling down from the tree to which he clung. Suddenly the unicorn, the dragon, the mice, and the serpents were all forgotten, and his mind was intent only on catching the drops of sweet honey trickling down from the tree.”
An explanation is hardly required. The unicorn is Death, always chasing man; the pit is the world; the small tree is man’s life, constantly gnawed by the black and the white mouse—i.e., by night and day; the four serpents are the four elements which compose the human body; the dragon below is meant for the jaws of hell. Surrounded by all those horrors, man is yet able to forget them all, and to think only of the pleasures of life, which, like a few drops of honey, fall into his mouth from the tree of life.43
But what is still more curious is, that the author of “Barlaam and Josaphat” has evidently taken his very hero, the Indian Prince Josaphat, from an Indian source. In the “Lalita Vistara”—the life, though no doubt the legendary life, of Buddha—the father of Buddha is a king. When his son is born, the Brahman Asita predicts that he will rise to great glory, and become either a powerful king, or, renouncing the throne and embracing the life of a hermit become a Buddha.44 The great object of his father is to prevent this. He therefore keeps the young prince, when he grows up, in his garden and palaces, surrounded by all pleasures which might turn his mind from contemplation to enjoyment. More especially he is to know nothing of illness, old age, and death, which might open his eyes to the misery and unreality of life. After a time, however, the prince receives permission to drive out; and then follow the four drives,45 so famous in Buddhist history. The places where these drives took place were commemorated by towers still standing in the time of Fa Hian’s visit to India, early in the fifth century after Christ, and even in the time of Hiouen Thsang, in the seventh century. I shall read you a short account of the three drives:46—
“One day when the prince with a large retinue was driving through the eastern gate of the city, on the way to one of his parks, he met on the road an old man, broken and decrepit. One could see the veins and muscles over the whole of his body, his teeth chattered, he was covered with wrinkles, bald, and hardly able to utter hollow and unmelodious sounds. He was bent on his stick, and all his limbs and joints trembled. ‘Who is that man?’ said the prince to his coachman. ‘He is small and weak, his flesh and his blood are dried up, his muscles stick to his skin, his head is white, his teeth chatter, his body is wasted away; leaning on his stick, he is hardly able to walk, stumbling at every step. Is there something peculiar in his family, or is this the common lot of all created beings?’
“‘Sir,’ replied the coachman, ‘that man is sinking under old age, his senses have become obtuse, suffering has destroyed his strength, and he is despised by his relations. He is without support and useless, and people have abandoned him, like a dead tree in a forest. But this is not peculiar to his family. In every creature youth is defeated by old age. Your father, your mother, all your relations, all your friends, will come to the same state; this is the appointed end of all creatures.’
“‘Alas!’ replied the prince, ‘are creatures so ignorant, so weak and foolish as to be proud of the youth by which they are intoxicated, not seeing the old age which awaits them? As for me, I go away. Coachman, turn my chariot quickly. What have I, the future prey of old age—what have I to do with pleasure?’ And the young prince returned to the city without going to the park.
“Another time the prince was driving through the southern gate to his pleasure-garden, when he perceived on the road a man suffering from illness, parched with fever, his body wasted, covered with mud, without a friend, without a home, hardly able to breathe, and frightened at the sight of himself, and the approach of death. Having questioned his coachman, and received from him the answer which he expected, the young prince said, ‘Alas! health is but the sport of a dream, and the fear of suffering must take this frightful form. Where is the wise man who, after having seen what he is, could any longer think of joy and pleasure?’ The prince turned his chariot, and returned to the city.
“A third time he was driving to his pleasure-garden through the western gate, when he saw a dead body on the road, lying on a bier and covered with a cloth. The friends stood about crying, sobbing, tearing their hair, covering their heads with dust, striking their breasts, and uttering wild cries. The prince, again, calling his coachman to witness this painful scene, exclaimed, ‘Oh, woe to youth, which must be destroyed by old age! Woe to health, which must be destroyed by so many diseases! Woe to this life, where a man remains so short a time! If there were no old age, no disease, no death; if these could be made captive forever!’ Then, betraying for the first time his intentions, the young prince said, ‘Let us turn back, I must think how to accomplish deliverance.’
“A last meeting put an end to hesitation. He was driving through the northern gate on the way to his pleasure-gardens, when he saw a mendicant, who appeared outwardly calm, subdued, looking downwards, wearing with an air of dignity his religious vestment, and carrying an alms-bowl.
“‘Who is that man?’ asked the prince.
“‘Sir,’ replied the coachman, ‘this man is one of those who are called Bhikshus, or mendicants. He has renounced all pleasures, all desires, and leads a life of austerity. He tries to conquer himself. He has become a devotee. Without passion, without envy, he walks about asking for alms.’
“‘This is good and well said,’ replied the prince. ‘The life of a devotee has always been praised by the wise. It will be my refuge, and the refuge of other creatures; it will lead us to a real life, to happiness and immortality.’
“With these words the young prince turned his chariot, and returned to the city.”
If we now compare the story of Joannes of Damascus, we find that the early life of Josaphat is exactly the same as that of Buddha. His father is a king, and after the birth of his son, an astrologer predicts that he will rise to glory; not, however, in his own kingdom, but in a higher and better one; in fact, that he will embrace the new and persecuted religion of the Christians. Everything is done to prevent this. He is kept in a beautiful palace, surrounded by all that is enjoyable; and great care is taken to keep him in ignorance of sickness, old age, and death. After a time, however, his father gives him leave to drive out. On one of his drives he sees two men, one maimed, the other blind. He asks what they are, and is told that they are suffering from disease. He then inquires whether all men are liable to disease, and whether it is known beforehand who will suffer from disease and who will be free; and when he hears the truth, he becomes sad, and returns home. Another time, when he drives out, he meets an old man with wrinkled face and shaking legs, bent down, with white hair, his teeth gone, and his voice faltering. He asks again what all this means, and is told that this is what happens to all men; and that no one can escape old age, and that in the end all men must die. Thereupon he returns home to meditate on death, till at last a hermit appears,47 and opens before his eyes a higher view of life, as contained in the Gospel of Christ.
No one, I believe, can read these two stories without feeling convinced that one was borrowed from the other; and as Fa Hian, three hundred years before John of Damascus, saw the towers which commemorated the three drives of Buddha still standing among the ruins of the royal city of Kapilavastu, it follows that the Greek father borrowed his subject from the Buddhist scriptures. Were it necessary, it would be easy to point out still more minute coincidences between the life of Josaphat and of Buddha, the founder of the Buddhist religion. Both in the end convert their royal fathers, both fight manfully against the assaults of the flesh and the devil, both are regarded as saints before they die. Possibly even a proper name may have been transferred from the sacred canon of the Buddhists to the pages of the Greek writer. The driver who conducts Buddha when he flees by night from his palace where he leaves his wife, his only son, and all his treasures, in order to devote himself to a contemplative life, is called Chandaka, in Burmese, Sanna.48 The friend and companion of Barlaam is called Zardan.49 Reinaud in his “Mémoire sur l’Inde,” p. 91 (1849), was the first, it seems, to point out that Youdasf, mentioned by Massoudi as the founder of the Sabæan religion, and Youasaf, mentioned as the founder of Buddhism by the author of the “Kitáb-al-Fihrist,” are both meant for Bodhisattva, a corruption quite intelligible with the system of transcribing that name with Persian letters. Professor Benfey has identified Theudas, the sorcerer in “Barlaam and Joasaph,” with the Devadatta of the Buddhist scriptures.50
How palpable these coincidences are between the two stories is best shown by the fact that they were pointed out, independently of each other, by scholars in France, Germany, and England. I place France first, because in point of time M. Laboulaye was the first who called attention to it in one of his charming articles in the “Debats.”51 A more detailed comparison was given by Dr. Liebrecht.52 And, lastly, Mr. Beal, in his translation of the “Travels of Fa Hian,”53 called attention to the same fact—viz., that the story of Josaphat was borrowed from the “Life of Buddha.” I could mention the names of two or three scholars besides who happened to read the two books, and who could not help seeing, what was as clear as daylight, that Joannes Damascenus took the principal character of his religious novel from the “Lalita Vistara,” one of the sacred books of the Buddhists; but the merit of having been the first belongs to M. Laboulaye.
This fact is, no doubt, extremely curious in the history of literature; but there is another fact connected with it which is more than curious, and I wonder that it has never been pointed out before. It is well known that the story of “Barlaam and Josaphat” became a most popular book during the Middle Ages. In the East it was translated into Syriac(?), Arabic, Ethiopic, Armenian, and Hebrew; in the West it exists in Latin, French, Italian, German, English, Spanish, Bohemian, and Polish. As early as 1204, a King of Norway translated it into Icelandic, and at a later time it was translated by a Jesuit missionary into Tagala, the classical language of the Philippine Islands. But this is not all, Barlaam and Josaphat have actually risen to the rank of saints, both in the Eastern and in the Western churches. In the Eastern church the 26th of August is the saints’ day of Barlaam and Josaphat; in the Roman Martyrologium, the 27th of November is assigned to them.
There have been from time to time misgivings about the historical character of these two saints. Leo Allatius, in his “Prolegomena,” ventured to ask the question, whether the story of “Barlaam and Josaphat” was more real than the “Cyropædia” of Xenophon, or the “Utopia” of Thomas More; but, en bon Catholique, he replied, that as Barlaam and Josaphat were mentioned, not only in the Menæa of the Greek, but also in the Martyrologium of the Roman Church, he could not bring himself to believe that their history was imaginary. Billius thought that to doubt the concluding words of the author, who says that he received the story of “Barlaam and Josaphat” from men incapable of falsehood, would be to trust more in one’s own suspicions than in Christian charity, which believeth all things. Bellarminus thought he could prove the truth of the story by the fact that, at the end of it, the author himself invokes the two saints Barlaam and Josaphat! Leo Allatius admitted, indeed, that some of the speeches and conversations occurring in the story might be the work of Joannes Damascenus, because Josaphat, having but recently been converted, could not have quoted so many passages from the Bible. But he implies that even this could be explained, because the Holy Ghost might have taught St. Josaphat what to say. At all events, Leo has no mercy for those “quibus omnia sub sanctorum nomine prodita male olent, quemadmodum de sanctis Georgio, Christophoro, Hippolyto, Catarina, aliisque nusquam eos in rerum natura extitisse impudentissime nugantur.” The Bishop of Avranches had likewise his doubts; but he calmed them by saying: “Non pas que je veuille soustenir que tout en soit supposé: il y auroit de la témerité à desavouer qu’il y ait jamais eû de Barlaam ni de Josaphat. Le témoignage du Martyrologe, qui les met au nombre des Saints, et leur intercession que Saint Jean Damascene reclame à la fin de cette histoire ne permettent pas d’en douter.”54
With us the question as to the historical or purely imaginary character of Josaphat has assumed a new and totally different aspect. We willingly accept the statement of Joannes Damascenus that the story of “Barlaam and Josaphat” was told him by men who came from India. We know that in India a story was current of a prince who lived in the sixth century B.C., a prince of whom it was predicted that he would resign the throne, and devote his life to meditation, in order to rise to the rank of a Buddha. The story tells us that his father did everything to prevent this; that he kept him in a palace secluded from the world, surrounded by all that makes life enjoyable; and that he tried to keep him in ignorance of sickness, old age, and death. We know from the same story that at last the young prince obtained permission to drive into the country, and that, by meeting an old man, a sick man, and a corpse, his eyes were opened to the unreality of life, and the vanity of this life’s pleasures; that he escaped from his palace, and, after defeating the assaults of all adversaries, became the founder of a new religion. This is the story, it may be the legendary story, but at all events the recognized story of Gautama Śâkyamuni, best known to us under the name of Buddha.
If, then, Joannes Damascenus tells the same story, only putting the name of Joasaph or Josaphat, i.e., Bodhisattva, in the place of Buddha; if all that is human and personal in the life of St. Josaphat is taken from the “Lalita Vistara”—what follows? It follows that, in the same sense in which La Fontaine’s Perrette is the Brahman of the Pañcatantra, St. Josaphat is the Buddha of the Buddhist canon. It follows that Buddha has become a saint in the Roman Church; it follows that, though under a different name, the sage of Kapilavastu, the founder of a religion which, whatever we may think of its dogma, is, in the purity of its morals, nearer to Christianity than any other religion, and which counts even now, after an existence of 2,400 years, 455,000,000 of believers, has received the highest honors that the Christian Church can bestow. And whatever we may think of the sanctity of saints, let those who doubt the right of Buddha to a place among them read the story of his life as it is told in the Buddhist canon. If he lived the life which is there described, few saints have a better claim to the title than Buddha; and no one either in the Greek or in the Roman Church need be ashamed of having paid to Buddha’s memory the honor that was intended for St. Josaphat, the prince, the hermit, and the saint.
History, here as elsewhere, is stranger than fiction; and a kind fairy, whom men call Chance, has here, as elsewhere, remedied the ingratitude and injustice of the world.