Indian
Culture and Traditions
The Panchatantra Just Bed Time Stories
By Ram Lingam
By Ram Lingam
If you are from India, you are
more likely to know at least one story from the Panchatantra. We know that the
Panchatantra has some great short stories, but to classify this 2300 year old
collection as a story book for little children could be a bit hasty. A careful
look at it beyond the narrative tells us a different story. A critical view at
the Panchatantra brings to light a creative way of life coaching using a
practical and fun way, that too for all age groups.
The Panchatantra, originally written in Sanskrit, remains
as one of the most influential contribution to world literature. It has also
been the most frequently translated literary product of India. The
Panchatantra has over 200 versions in more than 50 languages. Literary critics
have even noted a strong similarity between the Panchatantra and Aesop's fables
- and that the Aesop fables has stories from the Panchatantra.
Commenting on the impact of the Panchatantra on the world,
Sir William Wilson Hunter, an early Indologist writes:
"The fables of animals, familiar to the Western world from the time of Aesop downwards, had their original home in India…Panchatantra was translated into the ancient Persian in the 6th century A.D. from that rendering all the subsequent versions in Asia Minor and Europe have been derived. The most ancient animal fables of India are at the present day the nursery stories of England and America. This graceful Hindu imagination delighted also in fairy tales, and the Sanskrit compositions of this class are the original source of many of the fairy stories of Persia, Arabia and Christendom."
"The fables of animals, familiar to the Western world from the time of Aesop downwards, had their original home in India…Panchatantra was translated into the ancient Persian in the 6th century A.D. from that rendering all the subsequent versions in Asia Minor and Europe have been derived. The most ancient animal fables of India are at the present day the nursery stories of England and America. This graceful Hindu imagination delighted also in fairy tales, and the Sanskrit compositions of this class are the original source of many of the fairy stories of Persia, Arabia and Christendom."
Franklin Edgerton - a translator of the Panchatantra in
1924 said
"As early as the eleventh century this work reached Europe, and before 1600 it existed in Greek, Latin, Spanish, Italian, German, English, Old Slavonic, Czech, and perhaps other Slavonic languages. Its range has extended from Java to Iceland. In France, "at least eleven Panchatantra tales are included in the work of La Fontaine".
"As early as the eleventh century this work reached Europe, and before 1600 it existed in Greek, Latin, Spanish, Italian, German, English, Old Slavonic, Czech, and perhaps other Slavonic languages. Its range has extended from Java to Iceland. In France, "at least eleven Panchatantra tales are included in the work of La Fontaine".
Misconceptions about Panchatantra...
When we hear about India's cultural assets and
literary products such as the Panchatantra we tend to dismiss it as old and
irrelevant to modern times. We think that the Panchatantra is a story book
after all. We hastily declare that it is just a children's book of fables with
animal stories that has morals.
We hardly make an effort to go through the source book to
know the real purpose of the core script nor do we bother to find out what the
author says in his introduction. It is quite sad when the same sets of Indian
stories gets published completely restyled, re-branded and animated in a new
avatar in the USA or Japan, we celebrate!
According to the Panchatantra itself, Amarashakti the King
of Mahilaropya (perhaps in southern India) was concerned about the
governing capabilities of his three princes. Apparently the three princes were
not interested in learning and after a suggestion made by his minister, the
King decided to engage a wise Pundit Vishnu Sharma for 'awakening or igniting
their intelligence' of his princes. And it so happened that the Princes became
wiser.
So, what is the main theme of the
Panchatantra...?
About the Panchatantra, here is what the author Pundit
Vishnu Sharma says,
"A man who has studied this Neeti Shaastra or listened to its principles will never be defeated not even by Indra the lord of the Heaven."
"A man who has studied this Neeti Shaastra or listened to its principles will never be defeated not even by Indra the lord of the Heaven."
The main theme of the Panchatantra is 'Neeti’ which is
hard to translate in English. ‘Neeti’ roughly means practical worldly conduct
or even a "wise conduct of life". That makes the Panchatantra
connected with one of the branches of ancient Indian science known as the
'Neeti-Shaastra' which teaches us, how to relate to and understand people,
reliable friendships, problem solving through tact and wisdom and how to live
in peace and harmony in the face of the many pitfalls in life.
Interesting methodology of the
Panchatantra...
It is very interesting to note that Panchatantra is a
clever piece of story telling but with a difference and reveals the creative
story-telling powers of the author. Panchatantra is not about the five sets of
stories but about five tantras or principles. The garland of stories completes
one tantra. Each tantra starts with a main story with other stories inside the
story. The characters in a story tell other stories, based on different
situations or contexts.
The narrative seems suitable to children but the
underlying theme can be key knowledge for grown-ups. The author uses a modern
day case study method to make a point and validates the teachings with a
practical tip to apply in life.
How the Panchatantra transcends time
and culture…
As the story characters are mostly animals, many mistake
these for pre-school nursery stories or fables. This is a gross misconception.
It was the genius of Pundit Vishnu Sharma that the stories using manly animals
are created without any cultural bias - because animals are animals in any
culture. The Panchatantra can change our perspectives on the many daily
challenges that we face in life.
The stories relate to everyday life situations and show a
moral and realistic approach to successful living. The learning is always close
to what a person will face in day-to-day life. Even though the book was written
more than two thousand years ago the ideas and wisdom expressed transcend time
and culture because it teaches us how to be wiser, recognize frauds and
cheating, make friends and live life using our intelligence.
Panchatantra ~ many things to many
people…
All in all, the Panchatantra can be many things to many
people – a fun reading for adults, gift for young or old friends, education on
ethics, practical approach to life, creative teaching methodology and of course
an excellent story book. There are also a good number of kindle versions
of the Panchatantra these days and quite cheap as well.
The
Panchatantra are designed as bed time stories but daytime constructs of wisdom
where life is understood by constructing meaning and intellectual stimulation.
The Panchatantra is one such shining jewel from ancient India that has
stood the test of time and that provides life coaching and mentoring to
everybody - be it kids or even adults. Let's not dismiss the Panchatantra as a
set of animal stories only for children. In fact, Panchatantra is a
Neeti-Shaastra.
The World's Most
Romantic Leaf Is Heart-Shaped
By Vimla Patil
In India, offering a Paan (betel leaf)
or Beeda to a lover is an invitation to erotica. It is an honor when
offered to welcome guests. It is graceful hospitality when it is served
at the end of a festive meal. It is devotion when offered to the gods.
And finally, it is pure romance when it is used in wedding games between
newly-weds!
Go to any Indian social, festive or religious
function and you will certainly see the heart-shaped betel leaf used in
many interesting ways. A fresh-looking, deep green leaf, the Paan or
betel leaf has been an integral part of Indian erotica, religion and
culture for millenniums. The earliest records such as the Rigveda and the
Puranas show that it was considered medicinal with its bitter-pungent
taste and digestive qualities. In several of the ancient texts, there are
references to a Paan bida being offered to deities during the rituals of
worship. During the Mughal and Rajput eras, a large number of miniature
paintings are reminiscent of the romance of Krishna and Radha in which Krishna offers Paan bida to Radha. All these
indicate that offering Paan and betel nut has been a custom for thousands
of years in India
and has been an integral part of religious rites, cultural vignettes and
social graces in all communities that have lived in the sub-continent.
However, there is no clue in history to solve the
puzzle as to why India’s
neighbouring countries like Thailand,
Cambodia, Burma, Viet Nam
or Malaysia
and others have few such traditions. Paan eating is thus majorly
restricted to the Indian subcontinent and is widely seen in India, Pakistan
and Bangladesh.
It is sometimes seen in Sri
Lanka and increasingly in Western countries
where there are Indian, Pakistani or Bangla Deshi populations.
This ever-popular leaf, which is as traditional an
end to a festive Indian meal as are many mouth-watering desserts, is
grown all over India
– especially in moist, shaded landscapes where the rainfall is abundant.
The creepers of Paan are usually cultivated around betel nut palms in
plantations in most states of India. And naturally, depending on
where they are grown, there are varieties of Paan which taste and look
different in shape and colour. For instance, the famous Paans offered in
Uttar Pradesh – especially in Varanasi
– are the Maghai and Jagannath. Maghai is small, delicate and sweet to
taste. It is almost always eaten in pairs. Most connoisseurs choose this
gentle variety, stuffed with mouth-freshening fennel, a touch of mint,
betel pieces and fragrant saffron or dry fruits. The Jagannath variety is
for more ardent lovers of the Paan and is large and dark green. Bengal grows the Mohoba which is thicker and good
for a bite when stuffed with scented betel nut slices. Other than this,
the Madrassi and Ambadi varieties of Paan eaten commonly in peninsular India are
more for habitual eaters of Paan who patronize Paan stalls in cities and
villages in large numbers.
Most lovers of Paan know the varieties and are
particular about the ingredients and choose their bidas with care just
like wine lovers make their choice carefully. The ingredients also differ
depending on the buyer. Many stick to the innocent fennel, peppermint,
rose petals in sugar and a bit of catechu or katha. Others, who are
addicted to tobacco, add a lethal mixture of betel powder, catechu and
tobacco paste to enjoy their treat. The last mentioned is considered
dangerous and carcinogenetic. All other non-tobacco versions are served
at religious, cultural and social functions.
There is a general belief that eating Paan reddens
the lips like lipstick. Indeed, there are miniature paintings and poetic
references to the lips of Radha, red from chewing Paan in many books.
However, it is important to remember that the Paan itself does not create
the redness. It is the catechu and lime mixture which colours the mouth
and lips of the eater.
The mouth-reddening quality of Paan has an
interesting anecdote. There are references to the Paan eating habit of the
Moghul Queen Noor Jehan, the step-mother of Emperor Shah Jehan. Paintings
of the era show her holding a Paan bida and quote her as being thrilled
with the ‘red lips’ effect of this delicacy. Perhaps as a tradition from
this anecdote, the Moghul court was known for its luxurious Paan bidas
and the Nawabi culture of Lucknow and Hyderabad featured
not only Paan parties but also the creation of artistic containers called
Paan Daans to carry the fragrant parcels wherever the courtiers gathered.
Today, Paan Daans in silver or other metals, or
cloth chanchis or bags with pockets for different ingredients are used by
many Paan lovers. Paan bidas have been the theme of many folk songs as
well as classical literature because they are considered to be aphrodisiacal
or medicinal.
Further, the Paan, without its ingredients, plays a
vital role in the religious rites. At every havan or pooja, the deities
are offered a pair of Paans, with no trimming, but topped with a whole
betel nut and some money. This combination is also used to complete a
gift given to guests or relatives on auspicious occasions. Giving twin
Paans with a betel nut and money is the completion of the gift and a
symbol of goodwill. In many states, the Paan plays a romantic role in weddings.
In Bengal, the bride enters the wedding mandap covering her eyes with two
Paans and takes them away only to see her bridegroom in a Shubh Drishti
ritual which means ‘auspicious glimpse’. In Maharashtra,
after the sacraments of marriage are over, the bride and groom share a
meal at the end of which, the bridegroom holds a bida in his mouth and
invites his new bride to bite off half of it, much to the entertainment
of the onlookers. Paan bidas are also served to all invitees, sometimes
with a coconut to take away. Paan is also an ever-present motif in
temples where rituals of worship go on all day.
Finally, growing Paan and selling to millions across
India
is truly a big industry. Daily, the vast train network of India carries
basket loads of Paans of all varieties to different cities for vendors to
buy wholesale and then to offer to their customers. Every village or city
in India
has literally thousands of vending stalls which supply all varieties of
Paan bidas to their regular clientele. It is customary for such people to
buy the day’s quota from their favourite Paan maker and carry it with
them through the day to eat whenever the urge to eat one comes upon them.
There is a belief that Paan eating originated in Malaysia and then went to Africa
too. But today, India, Pakistan and Bangladesh are the major consumers
of this exotic parcel of a heart-shaped leaf containing fragrant spice
mixtures and often, a sharp touch of tobacco! The Paan is said to be also
a part of Vietnamese culture. There is a saying that the betel leaf
starts off the conversation in many cultures. It kicks off formal
gatherings and breaks the ice. In South East Asia
the groom, as a token of exchange, traditionally offers the parents of
the bride Paan. For example, the phrase ‘subject of betel and areca’ is
synonymous with marriage in Vietnam.
The author was Editor of Femina for 25 years. Vimla Patil is
among India's
senior most Journalists-Media persons. She excels in writing lifestyle
pieces, women's concerns, travelogues, celebrity interviews, art-culture
pieces about India.
Om Tat Sat
(Continued...)
(My humble salutations to Sri Ramalingam ji, Vimla Patil ji and hindu samskrit dot com for the collection)
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