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On the Art of Entering Another's Body : A Hindu Fiction

Motif. By Maurice Bloomfield i

Naming American Hybrid Oaks. By William Trelease .... 44 Interrelations of the Fossil Fuels. H. By John J. Stevenson. 53 The Names Troyan and Boyan in Old Russian. By J. Dyneley

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On the Art of Entering Another's Body: A Hindu Fiction Motif. By

Maurice Bloomfield ' i

Naming American Hybrid Oaks. By William Trelease .... 44

Obituary Notices of Members Deceased i

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ON THE ART OF ENTERING ANOTHER'S BODY: A HINDU FICTION MOTIF

By MAURICE BLOOMFIELD.

(Read April is, 1916.)

The Yoga philosophy teaches, on the way to ultimate salvation, many ascetic practices which confer supernormal powers. Thus the third book of the prime authority on this philosophy, the " Yoga- Sutras " of Patanjali, gives an account of these vibhutis, or powers.^ They cover a large part of all imaginable magic arts, or tricks, as we should call them : knowledge of the past and the future ; knowl- edge of the cries of all living beings (animal language) ; knowledge of previous births (jatismara, Pali jatissara) ; mind-reading; indis- cernibility of the Yogin's body ; knowledge of the time of one's death ; knowledge of the subtle and the concealed and the obscure ; knowledge of the cosmic spaces ; the arrangements and movements of the stars; cessation of hunger and thirst; motionlessness; the sight of the supernatural Siddhas^ roving in the spaces between the sky and the earth ; discernment of all ; knowledge of one's own mind mind-stuff and of self ; supernormal sense of hearing, feeling, sight, taste, and smell ; penetration of one's mind-stuff into the body of another ; non-adherence of water, mud, thorns, etc. ; levitation (floating in the air) ; subjugation of the elements; perfection of the body ; subjugation of the organs ; authority over all states of exist-

1 Also named bhuti, siddhi. aicvarya, j'ogegvarata, and the like.

2 Perfected beings that have become quasi-divine.

PROG. AMER. PHIL. SOC, LVI, A, PRINTED APRIL 3, I917.

2 BLOOMFIELD— ON THE ART OF

ence ; omniscience ; and, finally, as a result of passionlessness or dis- regard of all these perfections, the isolation or concentration that leads up to final emancipation or salvation.

In later Yoga scriptures the supernormal powers are systematized as the 8 mahasiddhi (great powers): (i) to render one's self in- finitely small or invisible; (2, 3) assumption of levitation and gravitation ; (4) power to extend one's self, so as, e. g., to be able to touch the moon with one's finger tip; (5) irresistible fulfilment of wishes ; (6) complete control over the body and the organs ; (7) power to alter the course of nature; (8) power of transfer at will. And, in addition to these, other, even more wonderful facul- ties are described, such as citing and conversing with the dead ; the assumption of many bodies at one and the same time; trance and burial alive, ^ and finally even the power of creation. There are also other systematizations, such as that of the commentator to Vacaspatimigra's " Samkhya-tattva-kaumudi," mentioned by Garbe in his translation of that work, in the Transactions of the Royal Bavarian Academy, Vol. XIX., p. 586.

From its own point of view Yoga does not overestimate these powers ; they are all considered ephemeral or unimportant or even contemptible. They are merely a progressive course towards the final goal of emancipation. Buddhist writings state repeatedly that they do not lead to perfection. The great Jain Divine, Hemacandra, once engaged in a Yoga tournament with another Jain Doctor, Deva- bodhi. Hemacandra made appear all the ancestors of King Kumara- pfda, together with the entire Olympus of the Jainas,* he himself in the meanwhile floating in the air. He thus beat Devabodhi, but in the end declared that all his stunts as well as Devabodhi's were mere hallucinations.''

But was there ever such an enhancement of the vulgar practice of magic? Philosophy, in dealing with such matters at all, enters into partnership with fairy-tale ; it sanctions, promotes, and legal- izes, so to speak, every fancy, however misty and however ex-

3 See for this matter Ernst Kuhn's statement in Garbe, " Samkhya und Yoga" (Encyclopaedia of Indo-Aryan Research), p. 47. •1 Cf. Mahabh., 15. 31. i. ^ See Biihler, " Uber das Leben dcs Jaina Monches Hemacandra," p. 83.

EXTERIXG ANOTHER'S BODY. 3

travagant. It is easy to foresee that both folk-lore and sophisticated narrative would simply jump at such tenets and build on their foundation fantastic structures. Nothing is impossible where the canons of time and space and number, and of ever}' sobering em- pirical experience have been undermined by such a travesty on scientific thought. The fiction texts are fully aware of the support they have in Yoga, as when, c. g., Kathas. 45. 79, states distinctly that magic art is founded on Sariikhya and Yoga, and calls it " the supernatural power, and the independence of knowledge, the do- minion over matter that is characterized by lightness and other mystic properties."

What is perhaps more important, though in a different way, no narrative of events, even historical events, is immune to this com- plete obliteration of the boundary' line between fact and fancy. We can understand better why all professed Hindu historical texts (Caritas or Caritras) deal with alternately on the same plane, and present alternately as equally credible, things that may have happened and things that m.ay not happen. They have been taught to believe all that by a schematic philosophy.

All narrative texts from the Mahabharata on are full of Yoga technique.'' and there is scarcely a single item of the Yogin's fictitious powers that has not taken service with fiction. To begin with the Yogin, or some undefined ascetic who is, to all intents and purposes, omnipotent, is met at every turn of fiction. Asceticism is practised for the avowed purpose of obtaining magic power.'' The Yoga's most extravagant claim,® namely that it enables its adepts to act as the almighty Creator, is supported in epic narrative by the statement that the Yogin possesses the power of srsti, i. e., the ability to create things like Prajapati.^ Division of personality (kaya-vyiiha) is practised not only by the gods (Surya in Mahabh. 3. 306. 8; or Skanda, ibid., 9. 44. 2^"/) . but even by mortals. In Kathas. 45. 342 fif.. King Suryaprabha, having accumulated at one and the same time an unusually large stock of wives, divides his body by his magic

c See Hopkins, TAOS. XXH. 333 ff-

^E. g., Kathas. 107. 81.

8 Garbe, " Samkhya," p. 187.

° See Hopkins, 1. c, p. 355.

4 BLOOMFIELD— ON THE ART OF

science, and lives with all those ladies, but with his real body he lived principally with his best beloved Mahallika, the daughter of the Asura Prahlada. Disappearance; making one's self small ("so small as to creep into a lotus-stalk ")^° ; floating in or flying through the air^\ with or without a chariot ; remembrance of former births^- ; doing as one wills are commonplaces of fiction to the point of tire- some cliche. They are used to cut the Gordian knot, or as sub- stitutes for the deus ex machina, when convenience calls for them in the least degree.

No doubt many or most of these fairy-tales were known to folk-lore before Yoga philosophy systematized them, and many more are current in fiction which the Yoga does not take note of at all. The gods could always do as they pleased, to begin with. Yoga or no Yoga. There is an especial class of semi-divine persons, the so-called Vidyadharas, or " Holders of Magic Science," who need no instruction in Yoga and yet possess every imaginable power. They are magicians congenitally, habitually fly in the air, and are therefore also known by the name of "Air-goers" (khecara, or vihaga). In a vaguer way almost any one at all may own magic science in fiction. The fairy-tale is interested more in the indi- vidual items of magic as self-existent real properties of its technique than in their causes or their motivation. But the influence of the Yoga appears in this way : as a rule, each magic trick is dignified by the name of vidya, "science" or "art" ("stunt," as we might say). These vidyas are in the first place the property by divine right of the above-mentioned Vidyadharas, but they may also be acquired, or called into service by mortals.

Quite frequently the vidyas are personified and cited like famil- iar spirits, or good fairies. ^^ They appear in profusion with pedantic descriptive names. Thus there is the Vidya called Pra-

10 Maliabh. 12. 343. 42.

11 Kathas. 18. 184; 20. 105, 141; 25. 262; 38. 153; 59. 106; Pargvanatha Caritra 2. 556; Kathakoga, pp. 49, 58; Prabandhacintamani, pp. 137, 150, 195 (in Tawney's Translation).

1- Mahabh. 13. 29. 11 ; 18. 4. 23-37, and on every other page of fiction. 13 In Vikrama-Carita the eiglit siddhis (above, p. 2) are personified as virgins; see Welier, Indische Studien, XV. 388.

ENTERING ANOTHER'S BODY. 5

jfiapti, "Prescience," or "Foreknowledge,"^* Kathas. 51. 45; iii. 52; Pargvanatha Caritra, 6. 879, 1141; or Prakrit JanavanI (San- skrit, Jnapani), "Knowledge."^' In Kathas. iii. 52, a king, suspecting that some calamity might have befallen his father, thought upon the " Science" named Prajiiapti, who thereupon pre- sented herself, and he addressed her: "Tell me how has my father fared?" The Science that had presented herself in a bodily form said to him: "Hear what has befallen your father, the king of Vatsa." Similarly, in Kathas. 30. 6fTf., Madanavega, a Vidyadhara, is worried because he is in love with the mortal maiden Kalihgasena. He calls to mind the Science named Prajfiapti, which informs him that Kalihgasena is an Apsaras, or heavenly nymph, degraded in consequence of a curse. Similarly, ibid., 42. 32, Ratnaprabha calls up a supernatural Science, called MayavatI, " Witching," which tells her tidings of her husband.

The " Science " called Caksusi, " Seeing," is bestowed by the Gandharvas upon Arjuna, Alahabh. i. 171. 6; the "Science" called Pratismrti, " Memory," is taught by his brother to Arjuna, ibid., 3. 36. 30. In Bambhadatta, p. 8. 1. 19, there is a " Science," called Samkari (Skt. Qamkarl), " Safety-bestower " ; if this is merely remembered it surrounds one with friends and servants that do one's bidding (see also ibid., p. 15, 1. 2). In Kathas. 46. no, King Candradatta possesses the Science called Mohani, " Bewildering," and for that reason is hard to conquer ; similarly, in Kathakoga, p. 144, there is the Science called "Invincible" (presumably Apara- jita) ; and in Parganatha Caritra, 3. 938, the Science called Viqva- vagikara, "All-subjecting," presents herself in person (avirbhavati svayam).

The last-mentioned text, in 8. 60, 158, has the Science called KhagaminI, " Flying in the air." The same Science is called Akaga- gamini in Pargvanatha I. 577, and in Prabhavaka Carita, p. ii, gloka 151 ; Vyomagamini or Gaganagamini in Prabhavaka Carita, p. 7, gloka 109, and p. 19, gloka 148; not very different is the Science called AdhisthayinI, "Floating in the air," Pargvanatha i.

1* See also Kathakoga, pp. 22, 2,2. A preceptor of these sciences is called Prajiiapti-Kaugika in Kathas. 25, 284.

15 " Story of Bambhadatta" (Jacobi, " Maharastrl Tales," p. 8, 1. 26).

6 BLOOMFIELD— ON THE ART OF

599. This is, of course, the prime quality of the Vidyadharas (khecara) themselves. Frequent mention is made of the Science called "Resuscitation": Samjivini, Pargvanatha 6. 706; or Jivani, Mahabh. i. 67. 58; or MrtajTvinl, Skandapurana, Kagikhanda, 16. 81. Pargvanatha, 2. 201, has the Science called Dhuvana- ksobhini, "Earthquake"; and Parcvanfitha 8. 158, and Parigistapar- van 2. 173, have the Science called Talodghatini, "Opening of locks." It will be observed that texts of the Jaina religionists figure frequently in this matter, this, because of the importance which the Jainas attach to ascetic practices. These practices and the beliefs connected with them have, in their turn, stimulated the Jainas' great love of fiction. It is rather characteristic that the Pargvanatha Caritra i. 576 ff., mentions no less than five of these Sciences in one place, to wit : Adrgyikarana, " Invisibility ; " Akrsti, " Compelling the presence of a person ; " Rupantarakrti, " Chang- ing one's shape ; " Parakayapravega, " Entering another's body ; " and AkagagaminI, " Traveling in the air."

Conspicuous among these magic " Arts," as we may now call them, is the " Art of entering another's body."^*' In the Yoga- SiJtras iii. 38 it is called para-garira-avega ; in other Yoga writings, and in Merutuiiga's Prabandhacintamani, p. 12, para-pura-pra- vega ;^' in Kathas. 45. 78, 79, dehantara-avega, or anya-deha- pravegako yogah ; in the Jainist Pargvanatha Caritra i. 576; 3. 119; in the Metrical Version of the Vikrama Carita, story 21, lines 109-110; in the Bithler manuscript of the Pancatantra, and in Meghavijaya's version of the same text, para-kaya-pravega (see WZKM. XIX, p. 64; ZDMG. LII, p. 649). The same designa- tion is used in the Vikrama story in a manuscript of the Vetalapafi- cavingati, edited by Uhle in ZDMG. XXIII, pp. 443 fif. The Vi- krama Carita defines this Art (with others) as ancillary to the eight mahasiddhis, to wit, parakayapravegadya yag ca katy api siddhayah, etadastamahasiddhipada pahkajasevikah, " the Arts Entering an-

i*' In Hemacandra's Yogagastra this is preceded by the " Art of sepa- rating one's self from one's body," called vedhavidhi ; sec Biihler, " Ueber das Leben des Jaina Monches Hemacandra," p. 251.

'^'' E. g., Aniruddha to Samkhyas. p. 129. The Sanskrit Lexicons either omit or misunderstood this word; see Bohtlingk, VII, p. 356, col. i.

ENTERING ANOTHER'S BODY. 7

other's body and some others are subservient to the foot-lotuses of the these mahasiddhis (the great Arts)." For all that the parakaya- prave<;a is an art destined to make a brilliant career in fiction. It is applied in two rather distinctive ways, one more philosophical, the other plainly folk-lore. In its philosophical aspect " the mind- stuff penetrates into the body of another." Patafijali's Commen- tator (Yoga-Bhasya of Veda-Vyasa) remarks that the Yogin, as the result of concentration reduces his karma, becomes conscious of the procedure of his mind-stuff, and then is able to withdraw the mind-stuif from his own body and to deposit it in another body. The organs also fly after the mind-stuff thus deposited.^^ In its folk-lore aspect the art consists of abandoning one's body and enter- ing another body, dead or in some other way bereft of its soul. The second form is naturally more popular in fiction.

There is but one elaborate instance of the art of pervading another's body with one's mind-stuif, Mahabharata, 13. 40 if. A noble sage, named Devagarman, had a wife, Ruci by name, the like of whom there was not upon the earth. Gods, Gandharvas, and Demons were intoxicated by her charms, but none so much so as the God Indra, the slayer of Vrtra, the punisher of Paka. Indra is of old a good deal of a viveiir and man about town. In remote antiquity he established for himself his dubious reputation by violating Ahalya, the beautiful wife of the great Sage Gautama; therefore he is known ever after as the " Paramour of Ahalya " (ahalyayai jarah).^^ Now Devagarman, the great Sage, under- stood the nature of women, therefore guarded that wife with every device and endeavor. Also, he was aware that Indra, seeker of intrigues with the wives of others, was the most likely source of danger: hence he yet more strenuously guarded his wife.- Being minded to perform a sacrifice he pondered the means of protecting his spouse during his absence. He called to him his disciple Vipula, and said : " I am going to perform a sacrifice ; since Indra constantly

18 Wood, The Yoga-System of Patanjali, HOS. Vol. XVII. p. 266. Cf. the kamavasayitva of the commentator to Vacaspatimigra's " Samkhya-tattva- kaumudi," 1. c.

19 From Catapatha Brahmana, 3. 3. 4. 18, on to Kathasaritsagara i". 137 ff.; see my Vedic Concordance under ahalyayai.

8 BLOOMFIELD— ON THE ART OF

lusts after Ruci, do thou guard her with all thy might. Unceasingly must thou be on thy guard against him, for he puts on many dis- guises ! " Then Vipula, ascetic and chaste, clean like the sheen of fire's flame, knowing the moral law and truthful, consented to take charge.

As the Master was about to start Vipula asked him : " What are the shapes that Indra contrives, when he comes? What sort of beauty and majesty does he assume, pray tell me that, O Sage?" Then the Master recounted to him Indra's wiles in detail : " He ap- pears with a diadem, carrying his war-bolt, with jewels in his ears ; the next moment like a Paria in appearance ; as an ascetic with a tuft on his head, clothed in rags ; of body great, or of body small. He changes his complexion from red to pale, and again to black ; his form from stalwart youth to decrepit old age. He appears in the guise of Brahman, Ksatriya, Vaigya, Cudra, indifferently of high or low caste; may show himself beautiful in white robe; disguised as swan or koi'1-bird ; as lion, tiger, or elephant ; in the guise of god, or demon, or king ; fat or lean ; as a bird, or stupid animal of many a form, even as a gnat or fly. He may vanish, so as to be visible only to the eye of knowledge ; turn to thin air."

The Sage in due time starts on his journey, leaving his fiduciary pupil in charge of the wife. Indra, as forecast, appears upon the scene, and Vipula finds that Ruci is wayward. Then, by his Yoga, he invades her mind (cittasya paragariraveqah ) and restrains her. He abides in her " limb by limb," like a shadow, like a person stopping in an empty house which he finds on his way, soiling her as little as a drop of water soils a lotus-leaf, standing in her like a reflection in a mirror.

Ruci is unconscious of the influence, but the operator's eye is fixed, for his spirit is far away. When Indra enters she wishes to say politely to the guest, " Who are thou ? " but, stift'ened and re- strained by the magic presence in her soul, she is unable to move. Indra says : " Compelled by the bodiless God of Love I come for thy sake, O sweetly smiling woman," but she is still unable to rise and speak, because the virtuous pupil restrains her by the bonds of Yoga. Vipula finally returns to his own body, and Indra, shamed by his reproaches, slinks off.

ENTERING ANOTHER'S BODY. 9

Twice more in the Mahabharata the motif takes the form of pervading another with one's self. In 12. 290. 12 the Sage Uganas, perfect in Yoga, projects himself into Kubera, the god of wealth, and controls him so as to be able to take his wealth and decamp. In 15. 26. 26-29 the ascetic Vidura, as he dies, rests his body against a tree, and enters the body of Yudhisthira who is thus dowered with Vidura's many virtues. The Sage, having left with Yudhisthira his powers, obtains the Samtanika's worlds. But, as a rule, the art is to enter the empty body of a dead person, or of a person who has himself decamped from his own body. That is the permanent type. Thus, in Kathakoga, p. 38 ff.. Prince Amaracandra enters another's body in order to feign death, and thus test the faith of his wife Jayagri who had but just married him by svayariivara. When she is about to join him on the funeral pyre he recovers his body by his magic.

The intricate story of Yogananda, or the Brahman disciple Indra-

datta, who became king Nanda by entering his dead body by Yoga,

is told, Kathas. 4. 92 ff. ; and in the fifth chapter of Merutuhga's

Prabandhacintamani, p. 271. In the version of the Kathasaritsa-

gara the celebrated Hindu Grammarian Vararuci, together with his

two pupils Vyadi and Indradatta, wishes to learn from Varsa a new

grammar that had been revealed to him by the god Karttikeya.

Now Varsa asks a million gold pieces for the lesson. The price is

rather stiff", and they know no way except to rely on the liberality

of king Nanda of Oudh. When they arrive in Oudh Nanda has

just died. They devise that Indradatta shall enter for a short time

Nanda's body, and that he shall again withdraw therefrom as soon

as he has granted the million. Indradatta then enters Nanda's

body ; Vyadi watches over Indradatta's empty shell ; Vararuci makes

the request for the money. But the wise minister of the defunct

king, Cakatala by name, reflects that Nanda's son is still a boy, that

the kingdom is surrounded by enemies, and decides to retain the

magic Nanda (Yogananda) upon the throne. He therefore orders

all corpses to be burned,^° including Indradatta's, and the latter's

soul, to its horror, is thus compelled to reside in the body of Nanda,

a CiJdra, whereas it is, in truth, that of a Brahman.

20 For this feature, namely, the burning of temporarily abandoned bodies, see Benfey, Pancatantra, I. 253; II. 147.

10 BLOOMFIELD— ON THE ART OF

In the Prabandhacintamani king Nanda of Patalipura dies, and a certain Brahman enters his body. A second Brahman by connivance comes to the renovated king's door, recites the Veda, and obtains as reward a crore of gold-pieces. The prime minister-^ considered that formerly Nanda was parsimonious, whereas he now displayed generosity. So he arrested that Brahman, and made search everywhere for a foreigner that knew the art of entering another body. Hearing, moreover, that a corpse was being guarded somewhere by a certain person he reduced the corpse to ashes, by ■placing it on the funeral pyre, and so contrived to carry on Nanda as monarch in his mighty kingdom as before. Benfey, Das Paiicatantra, I. 123, quotes Turnour, Mahavanso, Introduction, p. XLII, to the efifect that Buddhist sources report of Candragupta, the founder of the Maurya dynasty, the same story. Candragupta's body was occupied after his death by a Yaksa, named Devagarbha.

In the Vampire-story in Civadasa's recension of the Vetala- paiicaviiigati, 23 ; Kathasaritsfigara, 97 ; Oesterley's " Baital PachisI," 22 ; " V^edala Cadai," 22,-^ the Vampire relates how an old and decrepit Pagupata ascetic abandons his own shriveled body and enters that of a young Brahman who has just died, and later on throws his own body into a ravine. In the Hindi version of the Vampire stories ("Baital Pachlsi," 24), but not in the classical ver- sions, there occurs an unimportant variant of the same story.

In Kathas. 45. 47, 113, the Asura Maya tells Candraprabha that he was, in a former birth, a Danava, Sunitha by name, and that his body, after death in a battle between the Devas and the Asuras, had been preserved by embalming. The Asura Maya proposes to teach Candraprabha a charm by which he may return to his own former body, and so become superior in spirit and strength.

In the Hindustani " Bhaktimfd "-^ there is a merry story about Camkaracarya, who has entered into a learned disputation with a Doctor named Mandan Misr. The latter's wife had crowned the

21 (^akatala (or Cakadala) is his name in the same text, p. 306, and in another Jain text, Parigistaparvan 8. 50.

22 Babington in " Miscellaneous Translations from Oriental Languages," Vol. I. Part IV, p. 84.

23 See Gargin de Tassj^ " Histoire de la Literature Llindoui et Hindou- stani," IL 44.

ENTERING ANOTHER'S BODY. H

heads of the two disputants with wreaths ; iVIandan Alisr's wreath faded first, and Cariikara declares that he has conquered, and that Mandan Misr must become his disciple. But the wife remonstrates, on the plea that her husband is only half, she herself being the other half : he must conquer her also. She enters into a disputation wath him particularly on the Art of Love (Ras-Schaster), in which he, a Brahmacarin, is quite inexperienced. In order not to have an undue advantage she gives him a month's time for preparation. Cariikara enters the body of a king who has just died, committing his body to the care of his disciples. In the time of a single month Carhkara gathers a fund of experience in the art sufficient to down the woman in her own domain.

A Buddhist novice kills a serpent in order to enter its body, ac- cording to Burnouf , " Introduction a I'histoire du Buddhisme," I. 331, and Stan. lulien, " Alemoires," I. 48; see Benfey, Das Pan- catantra, I. 124.

F. \V. Bain, "A Digit of the ^loon," pp. 84 fl:., tells the follow- ing, presumably spurious, story, based upon sundry echoes from Hindu fiction : A king's domestic chaplain (purohita) is smitten with an evil passion for another man's wife. He gets the husband interested in the art of entering another's body, takes him one night to the cemetery, and there each by the power of Yoga aban- dons his body. The Purohita enters the body of the husband, who in turn is obliged to put up with the Purohita's body that is left. By chance he returns not to his own home, but to the house of the Purohita.

His wife's illicit love for the Purohita has in the meantime driven her to his house, and as a result, she now showers unac- customed endearments upon her own husband in the guise of the Purohita. The Purohita, in the meantime, has gone to the house of this dissolute woman, where he passes the night, cursing his fate because of her absence. In the morning the Purohita leaves the house before the woman's return, and arrives at his own house where he finds the husband asleep in his own bed. After mutual recriminations they return to the cemetery and change back their bodies. Then the husband realizes the import of what has hap- pened and brings both the Purohita and his own wife before the

12 BLOOMFIELD— OX THE ART OF

king's officers. But the Purohita says : " I have not touched your wife." And the wife says : " Was it not yourself that I embraced? " And the situation, in the manner of the Vampire-stories, remains a puzzle.

The most important aspect of our theme is that which tells how a certain king, either Mukunda or Vikrama, was tricked out of his body by a wily companion. In both versions figure a parrot, and a devoted and observant queen ; and in both stories the king finally regains his own body. Nevertheless, the two types of story show very individual physiognomies. The Vikrama story, in an essen- tially Hindu form, has been accessible since a very early date (1817) in " M. le Baron Lescallier," Le Trone Enchante, New-York, de I'imprimerie de J. Desnoues, No. 7, Murray-Street, 1817. This, as the translator explicitly states, is a translation from the Persian " Senguehassen Batissi," which in its turn is a version of the Hindu cycle of stories best known (though not exclusively so) under the names of " Sinhasanadvatrihgika," or, " The 32 Stories of the Throne Statues " ; or " Vikrama Carita, the History of King Vik- rama."-* Benfey traces the Vikrama version, or echoes from it, through five Western story collections, all of which are certainly based upon Hindu models, because they contain the feature of the parrot, or, in the case of the Bahar Danush, of the sharok bird (the maina, Skt. garika-'). But, as far as Hindu literature is concerned, Benfey knew only a Greek rendering of the Mukunda story in Galanos' translation of the Hitopadega.

The Mukunda version was made accessible to Europeans con- siderably later than Lescallier's Vikrama version. Galanos, "Xtro- vaSaa-aa rj UavTcra Tavrpa,'- pp. 20 ff., rendered it into Greek in 185T (see Benfey, 1. c, p. 4), and Benfey translated it from Galanos in Paiicatantra, \'ol. H., pp. 124 ff. Since then Hertel found the original of Galanos in the Biihler manuscript of the Paficatantra ;

^* See A. Loisseleur Deslongchamps, " Essai sur les Fables Indiennes," p. 175, note 5 (who draws attention to " looi Nights," LVII-LIX) ; Benfey, Das Paiicatantra, p. 123. The Hindu classical versions of the Sihhasana do not, as far as I have been able to find out, contain the story ; see especially their summary, as made by Weber, " Indische Studien," XV, pp. 447 ff.

'5 See my paper, " On Talking-Birds in Hindu Fiction," Festschrift an Ernst Windisch, pp. 349 ff.

ENTERING ANOTHER'S BODY. 13

see WZKM. XIX. 63 ff. He also brought to light two briefer versions of the same story, one in Meghavijaya's recension of the Paficatantra, ZDAIG. LII, pp. 649 ff.; the other in the Southern textus simplicior of the Paiicatantra, ZDMG. LXI, p. 27. The story pivots about a proverbial (niti) stanza, to wit:

" That which belongs to six ears is betrayed." " Not if the hunchback is present." " The hunchback became a king, The king a beggar and vagabond."-*^

King Mukunda of Lllavati, returning from a pleasure grove to his city, saw a hunchback clown performing his tricks before a crowd. He took him with him in order to make merry over him, and constantly kept him by his side. The king's Minister desiring to consult with the king, saw the hunchback and recited part of the metrical adage :

"That which belongs (is known to) to six ears is betrayed."

But the king continued the stanza :

" Not if the hunchback is present."

On a certain day a Yogin turned up ; the king received him under four eyes, and learned from him the art of entering into a dead body. The king kept rehearsing to himself the charm in the presence of the hunchback w^ho, in this way, learned it also. It happened that the king and the hunchback went out to hunt ; the king discovered in a thicket a Brahman who had died of thirst. Eager to test his power, he muttered the charm he had learned and transported his soul into the body of the Brahman. The hunch- back immediately entered the body of the king, mounted his horse,

2'J The original of this verse as given by Hertel, WZKM. XIX. 64, is : satkarno bhidyate mantrah kubjake naiva bhidyate, kubjako jayate raja raja bhavati bhiksukah. Very similar is the verse quoted from Subhasitarnava, 150, by Bohtlingk, " Indische Spriiche," 6601 : satkarno bhidyate mantrag catuskarno na bhidyate, kubjako jayate raja raja bhavati bhiksukah. Hertel cites yet another version from the southern textus simplicior of the Pafica- tantra, ZDMG. LXI, p. 27, note 2, to wit : satkarnam bhidyate mantram tava karyam ca bhidyate, kubjo bhavati rajendro raja bhavati bhiksukah. Cf. also Bohtlingk's "Spriiche," 6602 and 6603 (from various sources) ; they do not mention the kubjaka, "hunchback."

14 BLOOAIFIELD— ON THE ART OF

and said to the king : " Now shall I exercise royalty ; do you go wherever on earth it pleases you." And the king, realizing his help- lessness, turned away from his city.

Because the trick king spoke irrelevantly in the presence of the queen, she suspected him and consulted the aged Minister. He began to distribute food among needy strangers, and, as he himself washed their feet, he recited :

" That which belongs to six ears is betrayed." " Not if the hunchback is present,"

and asked each mendicant to recite the other half of the stanza. ^^ The true king heard of this ; recognized in it the action of the queen, returned as a mendicant, and, when the Minister recited as above, he finished the stanza :

" The hunchback became a king. The king beggar and vagabond."

The minister was satisfied with this evidence, and returned to the queen whom he found wailing over a dead pet-parrot. He advised her to call the false king and to say : " Is there in this city a magi- cian who can make this parrot utter even a single word ? " The fake king, proud of his newly won art, abandoned the royal body, entered that of the parrot, and the true king recovered his own. Then the Minister killed the parrot which had been reanimated by the hunchback.

Meghavijaya's version (ZDMG. LH. 649) is a straight ab- breviation of this story. Yet briefer and somewhat tangled is the version reported by Hertel from the South-Indian textus simplicior of the Pancatantra ; see ZDMG. LXI. 27fif. This version is clearly secondary to that of Galanos ; the names are all changed, and the hunchback figures as an attendant of the king, being called

-'■ On divided stanzas as a means of recognition see the story of Bambha- datta, p. 18, lines 30 ff. (Jacobi, " Ausgewalilte Erzi-ihlungen in Maharastri "), and cf. my essay on Muladeva, Proceedings of the American Philosophical Society, LII. (1913), 644. On the completion of fragmentary stanzas see Tawney's translation of Prabandhacintamani, pp. 6, 60; Hertelin ZDMG. LXI, p. 22; and, in general, Zachariae in "Gurupujakaumudi," pp. 38 fif. ; Charpentier, " Paccckabuddhageschichten," p. 35. Cloka as deus ex machina in Pargva- natha Caritra 2. 660 ff.

ENTERING ANOTHER'S BODY. 15

Kubja, " Hunchback ; " i. c, the word has become a proper name without relevance of any sort. The story is, moreover, dashed with motifs that had nothing to do with it originally: The king learns the art from a sorcerer. Kubja overhears the charm. The king sees a female harisa-bird in distress, because her mate has been shot by a hunter. The king, out of pity, enters the male hahsa's body;-® Kubja enters the king's body, usurps the kingdom, but is flouted by the queen. The king abandons the body of the haiisa, enters that of a beggar, and consults with the sorcerer. The latter tells the story to the king's minister. The minister advises the queen to kill her parrot, and to tell the fake king that she will receive him, if he reanimates the parrot. The false king enters into the parrot and is slain.

All versions of the story with King Vikrama in the center are clearly marked off from the Mukunda story. They supplant the hunchback by a magician (Yogin) and do not pivot about the stanza, " That which belongs to six ears is betrayed." As far as I know there are four versions of this story, to wit : Lescallier's, alluded to above ; a version which appears in a manuscript of the Vetalapancavihgati, edited and translated by Uhle in ZDMG. XXin. 443 ff. ; a very brief summary in Merutuiiga's Prabandha- cintamani, p. 12; and a full and brilliant version in Parcvanatha Caritra, 3. 105-324.'^ Moreover this tale has great vogue in Hindu folk-lore, where it is usually blended with other parrot stories and with other Vikrama stories : see Frere, " Old Deccan Days," pp. 102 ff. (Vicram Maharajah Parrot) ; J. H. Knowles, "Dictionary of Kashmiri Proverbs," p. 98 (§§4 and 5) ; Anaryan (pseudonym of F. Arbuthnot) in "Early Ideas, Hindoo Stories," pp. 131 ff., where the story is ascribed to the Prakrit poet Hurridas (Hari- dasa) ;^° Butterworth, "Zig-Zag Journeys in India," p. 167: "The parrot with the soul of a Rajah."

28 For this trait of the story see Ramayana i. 2. 9 ff.

29 Deslongchamps, 1. c, states that the story occurs, " avec d'autres details, dans le recueil Sanscrit qui a pour titre Vrhat-Katha " (voyez le Quarterly Oriental Magazine de Calcutta, mars 1824). Vrhat-Katha is doubtless in- tended for " Kathasaritsagara," but the story is not there. The Quarterly Oriental Magazine is not accessible.

30 That the story did exist in some Prakrit version seems to be likely,

16 BLOOMFIELD— ON THE ART OF

Lescallier's version of the story, a little uncertain as to its make- up, differs not only from the Mukunda story, but also from the three remaining versions of which we have the Sanskrit text. Since the book is very rare, the following digest may be acceptable : A Yogin (Djogui) named Jehabel (Jabala or Jabali?) starts out with the avowed purpose of tricking Vikramaditya (Bekermadjiet) out of his body, so that he may rule in his stead. He takes with him a dead parrot. He obtains an audience with the king, and after effusively praising him, says that he has heard that Vikrama pos- sesses fourteen arts (vidyas), one of which is the capacity to transplant his soul into a dead body, and thus to revive it. He begs for an ocular demonstration of this art : Vikrama is to pass his soul for a moment into the body of the dead parrot. After some remonstrance Vikrama consents, and they go to a room whose every opening the Yogin carefully shuts, on the plea that complete secrecy is desirable. Vikrama enters the body of the parrot which immediately shows every sign of life; the Yogin occupies Vikrama's body. Then he attempts to seize the parrot in order to slay him. Vikrama, unable to escape from the closed room, resorts to the supreme being, making what the Buddhists call the saccakiriya, or " truth-act," or satya-gravana, or " truth-declaration " :^^ " O al- mighty God, as king I have done good to all men, I have treated generously and benevolently all who have resorted to me, I have solaced the unfortunate, and none, not even