This machinery is of course exclusively Hindu. The recitation of the stories forms also the limit of the Yaksha's sojourn amongst mortals. On the present occasion, Parvati tells the culprits that they shall resume their celestial condition when Pushpadanta, encountering a Yaksh, a follower of Kuvera, the god of wealth, " doom'd for a certain time to walk the earth," as a Pisacha or goblin, shall recollect his own former state, and shall repeat to the Pisacha the stories he overheard from Siva and when Malyavan, falling in with the Pisacha, shall hear from him again the stories that his friend Pushpadanta had narrated. The degradation, however, endures only for a season, and terminates upon the occurrence of some preannounced catastrophe. The infliction of this punishment is a not uncommon fate of the subordinate divinities of the Hindus, when they incur the displeasure of the Dii majores, or even of holy sages. Parvati thereupon pronounces an imprecation upon Pushpadanta, condemning him to be born upon the earth as a man and she sentences his friend Malyavan, who had ventured to intercede for him, to a like destination. She accordingly complains to Siva of his having deceived her, and he vindicates himself by discovering the truth. What woman, says the author, can restrain her tongue ? Jaya takes an opportunity of intimating to her mistress that she is acquainted with the stories narrated by Siva, to the great mortification of Parvati, who had flattered herself that they had been communicated to her alone. One of the attendants of the god, Pushpadanta, took the liberty of listening, and he repeated them, under the seal of secrecy, to his wife, Jaya, a sort of lady's maid to the goddess. no less a person than the deity Siva, who, it is said, related them in private conversation with his wife, Parvati, for her entertainment. Somadeva's stories from Katha Sarit Sagara started when: * A Sanskrit translation* of Brhat Katha became Katha Sarit Sagara. Then the main story describes the adventures of Naravahanadatta, how he gets a large number of wives and how he becomes the lord of Vidyadharas-half-divine beings, who participate in prosperity and adversity of man more than another divinities do. In Brhat Katha:Īn introductory story presumptively describes the life and adventures of Udayana, a king of Vatsa, and those of his wives Vasavadatta and Padmavati and the birth of his son Naravahanadatta.
Somadeva in turn had found the stories in Brhat Katha or Vrihat Katha ('Long Story' 'Tale-Epic') a still more ancient (6th century AD and earlier* and now lost) work in Paisaci language (often translated as 'Language of Blood sucking Ghouls') by one Gunadhya who in turn may have based his stories on still more ancient sources. Vikram of the tale is supposed to be Vikramaditya (102 BCE to 15 CE) the legendary king of Ujjain.īaital-Pachisi was also a part (ninth section of twelfth book ) of 11th century AD (between 10 AD +) mammoth Sanskrit text Katha Sarit Sagara 'Ocean of the streams of narrative' by a Kashmiri poet-scholar named Somadeva. Kalhana, the 12th century Kashmiri historian, places Bhavabhuti in the entourage of the King Yashovarman of Kanauj, who was defeated by Lalitaditya, King of Kashmir, in 736 AD. Burton's translation of Baital-Pachisi titled 'Vikram and The Vampire'.īaital-Pachisi is generally attributed to 8th-century Sanskrit sage Bhavabhuti who wrote 'Vetala-panchvimshati'. It also alludes to that state, which induces Hindu devotees to allow themselves to be buried alive, and to appear dead for weeks or months, and then to return to life again a curious state of mesmeric catalepsy, into which they work themselves by concentrating the mind and abstaining from food- Isabel Burton, in preface to her husband Richard R.
Vikram aur betaal last story series#
The difficulties King Vikram and his son have in bringing the Vampire into the presence of the Jogi are truly laughable and on this thread is strung a series of Hindu fairy stories, which contain much interesting information on Indian customs and manners. The story turns chiefly on a great king named Vikram, the King Arthur of the East, who in pursuance of his promise to a Jogi or Magician, brings to him the Baital (Vampire), who is hanging on a tree.
It is an old, and thoroughly Hindu, Legend composed in Sanskrit, and is the germ which culminated in the Arabian Nights, and which inspired the "Golden Ass" of Apuleius, Boccacio's "Decamerone," the "Pentamerone," and all that class of facetious fictitious literature. The Baital-Pachisi, or Twenty-five Tales of a Baital is the history of a huge Bat, Vampire, or Evil Spirit which inhabited and animated dead bodies.
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