{"product_id":"pancatantra-ihl402","title":"The Pancatantra","description":"\u003ch2 class=\"title is-size-3-desktop is-size-5-touch has-text-centered product-details-description-title\"\u003eBook Specification\u003c\/h2\u003e\u003ctable\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eItem Code:\u003c\/td\u003e \u003ctd\u003eIHL402\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eAuthor:\u003c\/td\u003e \u003ctd\u003e\u003ca href=\"\/book-author\/chandra%20rajan\/\" class=\"underlined\" title=\"Chandra Rajan\"\u003eChandra Rajan\u003c\/a\u003e\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003ePublisher:\u003c\/td\u003e \u003ctd\u003e\u003ca href=\"\/book-publisher\/penguin%20books%20india%20pvt%20ltd\/\" class=\"underlined\" title=\"Penguin Books India Pvt. Ltd.\"\u003ePenguin Books India Pvt. Ltd.\u003c\/a\u003e\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eEdition:\u003c\/td\u003e \u003ctd\u003e1993\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eISBN:\u003c\/td\u003e \u003ctd\u003e9780144000715\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003ePages:\u003c\/td\u003e \u003ctd\u003e453\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eCover:\u003c\/td\u003e \u003ctd\u003ePaperback\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eOther Details\u003c\/td\u003e \u003ctd rel=\"product-dimensions\"\u003e7.8 inch X 5.1 inch\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eWeight\u003c\/td\u003e \u003ctd rel=\"product-weight\"\u003e415 gm\u003c\/td\u003e \u003c\/tr\u003e \u003c\/table\u003e\u003cbr\u003e\u003ch2 class=\"title is-size-3-desktop is-size-5-touch has-text-centered product-details-description-title\"\u003eBook Description\u003c\/h2\u003e\u003cdiv class=\"product-details-description\" style=\"max-height: 63rem; overflow-y: auto;\"\u003e\n\u003cp\u003e VISNU ŚARMA\u003c\/p\u003e \u003cp\u003e \u003ci\u003eThe Panćatantra\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e Translated from the \u003ca href=\"\/book\/Hindu\/sanskrit\/\"\u003eSanskrit\u003c\/a\u003e with an introduction by Chandra Rajan\u003c\/p\u003e \u003cp\u003e PENGUIN BOOKS\u003c\/p\u003e \u003cp\u003e \u003ci\u003eTo Tangerina\u003c\/i\u003e,\u003c\/p\u003e \u003cp\u003e \u003ci\u003ea great lady of elegance\u003c\/i\u003e,\u003c\/p\u003e \u003cp\u003e \u003ci\u003esensitivity and intelligence\u003c\/i\u003e,\u003c\/p\u003e \u003cp\u003e \u003ci\u003eand to her delightful family\u003c\/i\u003e,\u003c\/p\u003e \u003cp\u003e \u003ci\u003especial in individual ways:\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \u003ci\u003eI have learnt much from them.\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e Key to the Pronunciation of Sanskrit Words\u003c\/p\u003e \u003cp\u003e \u003ci\u003eVowels:\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e The line on top of a vowel indicates that it is long.\u003c\/p\u003e \u003cp\u003e a(short) as the u in but\u003c\/p\u003e \u003cp\u003e ā(long) as the a in far\u003c\/p\u003e \u003cp\u003e i.(short) as the i in sit\u003c\/p\u003e \u003cp\u003e ī(long) as the ee in sweet\u003c\/p\u003e \u003cp\u003e u(short) as the u in \u003ci\u003eput\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e ū (long) as the oo in cool\u003c\/p\u003e \u003cp\u003e rwith a dot is a vowel like the i in first or u in further\u003c\/p\u003e \u003cp\u003e eis always a long vowel like a in mate\u003c\/p\u003e \u003cp\u003e ai as the i in pile\u003c\/p\u003e \u003cp\u003e o is always long as the o in pole\u003c\/p\u003e \u003cp\u003e ow as the ow in owl\u003c\/p\u003e \u003cp\u003e \u003ci\u003eConsonants:\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e k, b and p are the same as in English\u003c\/p\u003e \u003cp\u003e kh is aspirated\u003c\/p\u003e \u003cp\u003e g as in goat\u003c\/p\u003e \u003cp\u003e gh is aspirated\u003c\/p\u003e \u003cp\u003e \u003ci\u003eć \u003c\/i\u003e is ch as in \u003ci\u003echurch\u003c\/i\u003e or cello\u003c\/p\u003e \u003cp\u003e \u003ci\u003ećh\u003c\/i\u003e is aspirated as in \u003ci\u003echhota\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e jas in \u003ci\u003ejewel\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e jh is aspirated\u003c\/p\u003e \u003cp\u003e t and d are hard when dotted below as in \u003ci\u003etalk\u003c\/i\u003e and dot\u003c\/p\u003e \u003cp\u003e tt is the aspirated sound\u003c\/p\u003e \u003cp\u003e dd is aspirated\u003c\/p\u003e \u003cp\u003e n when dotted is a dental; the tongue has to curl back to touch the palate.\u003c\/p\u003e \u003cp\u003e n as in king\u003c\/p\u003e \u003cp\u003e tundotted is a th as in \u003ci\u003ethermal\u003c\/i\u003e th is aspirated\u003c\/p\u003e \u003cp\u003e d undotted is a soft sound—there is no corresponding\u003c\/p\u003e \u003cp\u003e English sound, the Russian 'da' is the closest. dh is aspirated ph and bh are aspirated The Sanskrit v is an English w\u003c\/p\u003e \u003cp\u003e There are three sibilants in Sanskrit: S as in song, as in shover and a palatal Ś which is in between, e.g. \u003ca href=\"\/shiva.htm\"\u003eSiva\u003c\/a\u003e.\u003c\/p\u003e \u003ctable border=\"0\" class=\"main\" frame=\"box\" rules=\"all\" width=\"100%\"\u003e \u003ctbody\u003e \u003ctr class=\"row\"\u003e \u003ctd align=\"center\" class=\"cell\" colspan=\"2\"\u003e Contents\u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e key to the Pronunciation of Sanskrit Words\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e vi\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Foreword\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e xi\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e introduction\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e xv\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Panćatantra : Preamble\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 1\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Book I : Estrangement of Friends\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 7\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Frame Story: Lively and Tawny\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 9\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Monkey and the Wedge\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 15\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Jackal and the Battle-drum\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 31\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Fine Tooth and the Palace Sweeper\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 38\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Holy Man and the Swindler\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e \u003ci\u003eand\u003c\/i\u003e The Weaver's Unfaithful Wife\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 46\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Crow and the Serpent\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 62\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Crab and the Crane\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 64\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Dim Wit and the Hare\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 69\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Weaver and Princess Charming\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 76\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Grateful Beasts and the Ungrateful Man\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 98\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Crawly, the bedbug and Drone, the wasp\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 105\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Blue Jackal\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 108\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Owl and the Wild Goose\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 114\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Camel, the Crow and Others\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 120\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Lion and the Chariot-maker\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 126\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Lapwing who defied the Ocean\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 130\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Turtle and the Geese\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 132\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Three Fishes\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 133\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Sparrow and the Tusker\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 137\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Ancient Wild Goose and the Fowler\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 141\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Lion and the Lone Ram\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 143\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Jackal who outwitted the Lion\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 147\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Strong and the Naked Mendicant\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 157\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Maiden wedded to a Snake\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 159\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Death and Little Blossom\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 162\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Tailor-bird and the Ape\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 164\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Fair Mind and Foul Mind\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 166\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Foolish Heron\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 169\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Preposterous Lie\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 172\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Twin Parrots\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 177\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Three Friends and the Noble Robber\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e \u003ci\u003eand\u003c\/i\u003e Faithful but Foolish\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 178\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Book II : Winning of Friends\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 191\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Frame Story: The Crow, the Mole, the Deer\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e and the Tortoise\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 193\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Bharunda Birds\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 195\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Goldy's Sorrows\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 210\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Mother Śāndilee\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 213\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Greedy Jackal\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 215\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The man who received what was his\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 226\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Little Simple, the weaver\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 238\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Hangballs and the Vixen\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 242\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Mice that freed the Elephants\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 251\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Speckle's Captivity\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 256\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Book III : Of Crows and Owls\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 265\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Frame Story: Of Crows and Owls\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 267\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e How the birds picked a king\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 280\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Hare who fooled the Elephant-King\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 284\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Cat's Judgement\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 290\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Brāhmana and his Goat\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 298\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Ants who killed the Snake\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 300\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Serpent who paid in gold\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 305\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Golden Geese of Lotus Lake\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 306\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Dove who sacrificed himself\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 308\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Old Man, Young Wife\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 314\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Brāhmana, the Robber, and the Demon\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 316\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Snake in the Prince's belly\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 319\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Chariot-maker cuckolded\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 321\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Mouse-Maiden who wed a mouse\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 325\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Bird who dropped golden turd\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 331\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Talking Cave\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 333\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Frogs that rode snakeback\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 340\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Brāhmana's revenge\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 342\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Book IV : Loss of Gains\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 351\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Frame Story: The Ape and the Crocodile\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 353\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Frog-King who overreached himself\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 360\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Long Ears and Dusty\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 366\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Potter who played the hero\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 370\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Jackal mothered by the Lioness\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 372\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Ungrateful Wife\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 375\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Two Henpecked Husbands\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 378\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Ass in tiger-skin\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 379\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Unfaithful Wife\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 382\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Officious Sparrow\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 385\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Smart Jackal\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 387\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Dog who went abroad\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 391\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Book V : Rash Deeds\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 393\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Frame Story: The Barber who slaughtered\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e \u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e the Monks\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 395\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Brāhmani and the faithful Mongoose\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 400\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Four Treasure-seekers\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 402\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Scholars who brought a dead lion to life\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 409\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Thousandwit, Hundredwit, Singlewit\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 411\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Singing Ass 1\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 413\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Dull-witted Weaver\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 416\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Day-dreaming Brahmin\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 419\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Ape's Revenge\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 421\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Credulous Ogre\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 427\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Three-breasted Princess\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 430\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e The Brāhmana who asked\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 430\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr class=\"row\"\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e Notes and References\u003c\/p\u003e \u003c\/td\u003e \u003ctd class=\"cell\"\u003e \u003cp\u003e 437\u003c\/p\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003c\/tbody\u003e \u003c\/table\u003e \u003ctable border=\"0\" class=\"main\" frame=\"box\" rules=\"all\"\u003e \u003c\/table\u003e \u003cp\u003e Foreword\u003c\/p\u003e \u003cp\u003e The authorship, dates and provenance of ancient Sanskrit texts have always been problematic. The \u003ci\u003ePanćatantra\u003c\/i\u003e is no exception. And in this case the problem is further complicated by the fact that the work belongs to the age-old oral tradition of which story telling is an important part.\u003c\/p\u003e \u003cp\u003e Storytelling has its origins in pre-literate societies of the Distant past, where it was a communal activity. No story is ever 'told' the same way twice; no song is ever 'sung' the same way twice. Names and dates are difficult to pin accurately and securely to works in the oral tradition.\u003c\/p\u003e \u003cp\u003e The author of the \u003ci\u003ePanćatantra\u003c\/i\u003e is a storyteller of hoary antiquity, an almost legendary figure like Vyāsa (a word that literaily means 'compiler' or 'editor') whom tradition declares to be the author of the \u003ci\u003eMah\u003c\/i\u003eā\u003ci\u003ebh\u003c\/i\u003eā\u003ci\u003erata.\u003c\/i\u003e In fact we know a little more about the author of the \u003ci\u003eMah\u003c\/i\u003eā\u003ci\u003ebh\u003c\/i\u003eā\u003ci\u003erata\u003c\/i\u003e than we do about the author of the \u003ci\u003ePanćatantra.\u003c\/i\u003e Tradition ascribes this fabulous work to one Visnu Śarma. But we know nothing about this gifted author who, judging from the artistry displayed in the text he is credited with having composed, brought storytelling to such heights of sophistication; who in fact created a literary genre of storytelling; who had many imitators over the centuries, none of them his equal.\u003c\/p\u003e \u003cp\u003e Sometimes the name Visnu Śarma is given as one of the names of Visnu gupta Ćānakya (son of Ćanaka), the author of the \u003ci\u003eArthaś\u003c\/i\u003eā\u003ci\u003estra.\u003c\/i\u003e But there is no evidence to show that the author of the \u003ci\u003eArthaś\u003c\/i\u003eā\u003ci\u003estra\u003c\/i\u003e also wrote a \u003ci\u003eNitiś\u003c\/i\u003eā\u003ci\u003etra\u003c\/i\u003e, the term used to describe the \u003ci\u003ePanćatantra;\u003c\/i\u003e there is nothing to prove the contrary either.\u003c\/p\u003e \u003cp\u003e Who then is Visnu Śarma? His name occurs in the \u003ci\u003ePreamble\u003c\/i\u003e to the text, nowhere else. He is a celebrated teacher living in Mahilāropya, a place unidentified except by H. H. Wilson who suggests that it might be Mayilāpura, Peacock City, now part of the capital of Tamil Nadu. As he says of himself, he is eighty years of age, has no worldly desires and concerns; and he is successful in educating three very refractory princes in six months time through storytelling, so that they become expert in the art of government. Then he fades away leaving behind an impersonal voice. This is not much to go upon. And what little there is about Visnu Śarma is all in the text; it is part of the story-book world.\u003c\/p\u003e \u003cp\u003e We are therefore left with two possibilities to consider in relation to the identity of the author of the \u003ci\u003ePanćatantra.\u003c\/i\u003e Visnu Śarma might have been the name of the storyteller\/author who had the imagination and the artistry to first shape a floating body of tales—popular and moral tales, fairytales and folklore—into the artistic whole with the complex and unique structure and well-defined purpose that the \u003ci\u003ePanćatantra\u003c\/i\u003e is. The names of the storytellers who went before him and who come after have perhaps been subsumed under his revered name—not an uncommon practice in India, as in the case of the \u003ci\u003eMah\u003c\/i\u003eā\u003ci\u003ebh\u003c\/i\u003eā\u003ci\u003erata\u003c\/i\u003e and of the \u003ci\u003eN\u003c\/i\u003eā\u003ci\u003etya Ś\u003c\/i\u003eā\u003ci\u003estra\u003c\/i\u003e of Bharatamuni. It is reasonable therefore, to consider a multiple authorship for the \u003ci\u003ePanćatantra.\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e The other Possibility is that Visnu Śarma is himself a fictional character like the numerous characters, human and nonhuman in the \u003ci\u003ePantć\u003ca href=\"\/article\/tantric\/\"\u003etantra\u003c\/a\u003e\u003c\/i\u003e that have delighted children of all ages in all places at all times, and still continue to do so. It is noteworthy that there is an anonymous narrator in the \u003ci\u003ePreamble\u003c\/i\u003e to the text, who introduces Visnu Śarma, the first of a series of narrators, (perhaps an archetypal storyteller) and the three princes, the very first audience (see pp. xlviii-il of the introduction). Who this anonymous narrator was we shall never know. And we have been pushed into a region of anonymity.\u003c\/p\u003e \u003cp\u003e Anonymity is a distinctive feature of much of Indian art in the past. We have therefore to rest content with the realization that we do not know who the author of the \u003ci\u003ePanćatantra\u003c\/i\u003e is, where he lived and composed his great work, and when. Tradition is important in oral transmission. But tradition says little here; it merely provides an ascription, a name.\u003c\/p\u003e \u003cp\u003e What's in a name, one might ask: a great deal if they are the names of the delightful characters in the \u003ci\u003ePanćatantra.\u003c\/i\u003e Nearly all the names in this work are descriptive of some essential trait, physical or otherwise of the characters. For instance\u003ci\u003e, Pingalaka\u003c\/i\u003e, Tawny, the lion in the frame story of Book I, is so named because of the reddish-brown coat of lions, but another lion is named \u003ci\u003eMandamati\u003c\/i\u003e, Dimwit (I. \u003ci\u003eDimwit and the Hare)\u003c\/i\u003e, because he meets his end on account of his stupidity. \u003ci\u003eSūćīmukha\u003c\/i\u003e, Needlebeak (IV. \u003ci\u003eThe Officious Sparrow)\u003c\/i\u003e aptly describes a weaver bird, and so on. The choice of names is deliberate, as in some of the novels of Thomas Hardy, and adds to the total meaning of the story. I have therefore translated most of them. In a few cases, the Sanskrit names have been retained, because they are untranslatable, for example, Nāduka in the tale of 'The Preposterous Lie', (I. tale 29); or because the name sounds silly or cumbrous in English—Mahilāropya, City Ornamented with women, Yajnadatta, Gift of Sacrifice (I. \u003ci\u003eThe Grateful Beasts and the Ungrateful Mm).\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e The names of the two jackals\u003ci\u003e, Karataka\u003c\/i\u003e and \u003ci\u003eDamanaka\u003c\/i\u003e, in the frame story of Book I form a special case of some interest. I have called them Wary and Wily; these are not translations of the Sanskrit names. In English these two names would be Little Crow and Little Tamer, neither of which convey what the Sanskrit names express so well. K\u003ci\u003earata\u003c\/i\u003e is one of the many words in Sanskrit for a crow. It is a common belief that the crow is the most intelligent of birds, wise, shrewd, cautious, with good judgement; just the qualities we see in the first jackal whom I have \u003ci\u003enamed\u003c\/i\u003e Wary. (The suffix \u003ci\u003e'ka'\u003c\/i\u003e denotes the diminutive form of a word). Whether the second jackal\u003ci\u003e, Damanaka\u003c\/i\u003e, is a 'tamer' is highly doubtful; but wily he certainly is; a mean and conniving rascal. And the name Wily seemed appropriate, in contrast to Wary.\u003c\/p\u003e \u003cp\u003e \u003ci\u003e\u003ca href=\"\/article\/dharma-for-modern-man\/\"\u003eDharma\u003c\/a\u003e\u003c\/i\u003e and \u003ci\u003en\u003c\/i\u003eī\u003ci\u003eti\u003c\/i\u003e are two all-embracing words that cannot be translated by a single English word. In most contexts where the word occurs I have translated \u003ci\u003edharma\u003c\/i\u003e as the Law; the moral law of the universe in its physical and ethical aspects which implies the existence of order at all levels. \u003ci\u003eN\u003c\/i\u003eī\u003ci\u003eti\u003c\/i\u003e, I have rendered by the phrase, 'living wisely and well in the truest sense of these terms'. These two important terms have been fully explained in the introduction, on pp. xlii, xliii and xlv.\u003c\/p\u003e \u003cp\u003e I conclude this foreword with a few words on the jacket design. It is a reproduction of an illustration in a manuscript copy of the original \u003ci\u003eKalila wa Dimnah\u003c\/i\u003e, the Arabic version of the \u003ci\u003ePanćatantra\u003c\/i\u003e done in Iran in AD 870 (see p.xv of the introduction for details). This manuscript in Arabic script dates from 897 H (AD 1491) and has recently been acquired by the National Museum, New Delhi. It was inscribed and illustrated somewhere in India. The illustration is for the frame story of Book III of the \u003ci\u003ePanćatantra—Of Crows and Owls.\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e I take this opportunity to express my thanks to Dr Naseem Akhtar, Keeper, Manuscripts Section, the National Museum, New Delhi, for showing me this manuscript copy of the original \u003ci\u003eKalila wa Dimnah\u003c\/i\u003e and for arranging to provide the slide for the jacket design.\u003c\/p\u003e \u003cp\u003e \u003ci\u003eMakara Samkr\u003c\/i\u003eā\u003ci\u003enti, Vikrama 2050 (14 January 1993) New Delhi.\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \u003ci\u003eChandra Rajan\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e Introduction\u003c\/p\u003e \u003cp\u003e \u003ci\u003eSince then, this work on wise conduct (n\u003c\/i\u003eā\u003ci\u003etiś\u003c\/i\u003eā\u003ci\u003estra\u003csup\u003e1\u003c\/sup\u003e) has become celebrated as an excellent means of awakening young minds. It has travelled far and wide over this earth.\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e This is how the \u003ci\u003ePreamble (Kathamukha)\u003c\/i\u003e of the \u003ci\u003ePanćatantra speaks\u003c\/i\u003e of itself before it closes with the traditional \u003ci\u003ephalasruti (Preamble.\u003c\/i\u003e 3), the declaration of benefits that are gained by the proper study of a text. And this is no idle claim, but a claim amply justified. For this work, the product of the genius of Visnu Śarma, has indeed travelled far and wide over the globe in many guises—translations, transcreations and adaptations.\u003c\/p\u003e \u003cp\u003e As Johannes Hertel who spent many years in the study and editing of the textual corpus of the \u003ci\u003ePanćatantra\u003c\/i\u003e writes in the Preface (p. vii) to his \u003ci\u003eDas Panchatantra(1914):\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e This book treats of the history of a work which has made an unparalleled triumphal progress from its native land over all the civilized parts of the globe and which for more than fifteen hundred years has delighted young and old, educated and uneducated, rich find poor, high and low, and still delights them. Even the greatest obstacles—whether of language or customs or religion— have not been able to check that triumphal progress.\u003c\/p\u003e \u003cp\u003e That is a fair and accurate assessment of the extraordinary\u003c\/p\u003e \u003cp\u003e * Key to quotations from and references the translation of the text: The books or \u003ci\u003etantras\u003c\/i\u003e are referred to by roman numerals; the tales and verses by Indian numerals in universal use; lines of prose in the translation are referred to by using points and plus and minus signs after a verse number; eg. II.3.-6 refers to the sixth prose line-before verse 3 and II.3.+2 to the second line after verse 3.\u003c\/p\u003e \u003cp\u003e popularity of this fabulous work. According to Hertel, there are more than 200 versions of the \u003ci\u003ePanćatantra\u003c\/i\u003e in fifty languages, most of them non-Indian. Carried by scholars from the land of its origin to other lands and peoples, as many Indian texts were during the early centuries AD, the \u003ci\u003ePanćatantra\u003c\/i\u003e started on its 'triumphal progress' before AD 570, initially as a version in Pehlevi (Middle Persian) during the reign of Khosro Anushirvan (AD 550-578), Emperor of Iran. This version was executed under; the Emperor's orders by his court physician, Burzoeu. The original Pehlevi version was unfortunately lost, but not before a Syriac version by a priest named Bud, in AD 570, had been done entitled Kali\u003ci\u003elag wa Dimnag\u003c\/i\u003e, followed by one in Arabic, the \u003ci\u003eKalilah wa Dimnah\u003c\/i\u003e by Abdallah Ibn al-Moqaffa, a Zoroastrian convert to Islam, AD 750. The two words in the titles, Kalilag-Kalilah and Dimnag-Dimnah, are Arabizations of the names of the two jackals in the Sanskrit original—\u003ci\u003eKarataka\u003c\/i\u003e and \u003ci\u003eDamanaka\u003c\/i\u003e—in the frame story of Book I\u003ci\u003e, Estrangement of Friends;\u003c\/i\u003e Wary and Wily in our translation.\u003c\/p\u003e \u003cp\u003e The Arabic version is the parent of nearly all the European versions of the \u003ci\u003ePanćatantra\u003c\/i\u003e known generally in medieval Europe as \u003ci\u003eThe Fables of Bidpai.\u003c\/i\u003e Between AD eleventh and eighteenth centuries, versions of the \u003ci\u003ePanćatantra\u003c\/i\u003e had been made in Greek, Latin, German, Spanish, French, English, Armenian and Slavonic languages; and Hebrew and Malay. A more or less complete jape of the \u003ci\u003ePanćatantra\u003c\/i\u003e versions in medieval Europe can be found in the 1938 reprint of the Elizabethan version by Sir Thomas North (published by David Nutt, Strand, London—Bibliotheque de Carabas).\u003c\/p\u003e \u003cp\u003e Immediately after the invention of printing, the German version\u003ci\u003e, Das der Buch Beyspiele\u003c\/i\u003e (1483), was published, making the \u003ci\u003ePanćatantra\u003c\/i\u003e one of the earliest works to be printed. An Italian version in two parts by one Doni\u003csup\u003e2\u003c\/sup\u003e(La \u003ci\u003eMoral Philosophia\u003c\/i\u003e, 1552) caught the eye and the imagination of Sir Thomas North (the translator of \u003ci\u003ePlutarch's Lives).\u003c\/i\u003e He made a version of the first part in fine Elizabethan English. This was published in 1570, a full thousand years after Visnu Śarma's famous book of moral and political instruction through stories, left its native land to travel to the Persian court. North's translation (of Doni) was entitled \u003ci\u003eThe Fables of Bidpai: The Morall Philosophie of Doni.\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e The initial phase of the \u003ci\u003ePanćatantra's\u003c\/i\u003e 'triumphal progress' over the globe, is itself a 'story'; a miniature romance in fact. The \u003ci\u003ePanćatantra\u003c\/i\u003e was the earliest work to travel outside India. Individual stories that this work had in common with the \u003ci\u003eJ\u003c\/i\u003eā\u003ci\u003etaka Tales\u003c\/i\u003e had already spread far beyond the shores of India, long before the \u003ci\u003ePanćatantra\u003c\/i\u003e set out on its travels. The \u003ci\u003eJ\u003c\/i\u003eā\u003ci\u003etaka Tales\u003c\/i\u003e is a collection of tales about the Buddha's nativity and his many incarnations as \u003ci\u003eBodhisattva\u003c\/i\u003e, some in non-human forms. The Buddha is believed to have come down to earth many times, to redeem mankind by teaching the \u003ci\u003edhamma\u003c\/i\u003e, (Pali for \u003ci\u003edharma)\u003c\/i\u003e, the Law or the Right Path. In the ancient world, stories and legends migrated, carried like silks, spices, ivory, gems and other rich commodities, from port to port and caravanserai to caravanserai by merchants and travellers, soldiers and sailors.\u003c\/p\u003e \u003cp\u003e The story of the 'book of stories' probably formed part of the lost Pehlevi redaction of the \u003ci\u003ePanćatantra\u003c\/i\u003e by Burzoeu (AD 570), perhaps as a prologue. It was carried over into the Arabic version of the Pehlevi text\u003ci\u003e, Kalilah wa Dimnah\u003c\/i\u003e, and into the European versions based on it. It forms part of Sir Thomas North's \u003ci\u003eThe Fables of Bidpai: The Morall Philosophie of Doni\u003c\/i\u003e (1570), as 'The Argument of the Booke'.\u003csup\u003e3\u003c\/sup\u003e The following is a brief account of the story.\u003c\/p\u003e \u003cp\u003e Once, Khosro Anushirvan (Anestres Castri, in North), King of Iran (Edon) was presented a book which contained among other things the secret to raise the dead by means of an elixir \u003ci\u003e(ras\u003c\/i\u003eā\u003ci\u003eyana\u003csup\u003e4\u003c\/sup\u003e\u003c\/i\u003e in Sanskrit). The book explained how the elixir was extracted from herbs and trees growing on the high mountains of India. The king, eager to find out the truth about this elixir sent his chief minister and treasurer, Burzoeu, to India, providing him with a great deal of gold and silver to defray the expenses of the long and arduous journey, and with letters to the courts of many monarchs in India, requesting their help. Burzoeu, on reaching India, received all the help he needed and with the wisest and most learned sages began combing the mountains for the herbs and trees mentioned in the book. But to no avail, for no extract had the power of restoring the dead to life. Burzoeu and the learned\u003c\/p\u003e \u003cp\u003e Indian sages were driven to the conclusion that everything that had been written about the elixir in the book, 'was false and untrue'.\u003c\/p\u003e \u003cp\u003e Burzoeu, greatly distressed, consulted the learned sages as to what he could do to not return empty-handed to his king. Then 'a famous philosopher', who had also searched long and in vain for the Elixir of Life only to discover in the end that the elixir was in truth a book, showed Burzoeu a copy of it. This philosopher also explained the allegory contained in the first book, the one presented to the King of Iran, which started Burzoeu on his travels, as follows: The high mountains were the wise and learned men of lofty intellect; the trees and herbs their various writings and the wisdom extracted from these writings the Elixir of Life that revived the dead intelligence and buried thoughts of 'the ignorant and unlearned'.\u003c\/p\u003e \u003cp\u003e Burzoeu asked for a copy of that book which was 'alwayes in the handes of those Kings, for that it was ful of Morall Philosophy' and permission to translate it into his own tongue for his king. And so 'with the helpe and knoledge of all those learned philosophers', Burzoeu rendered the famous book into Pehlevi and\u003csup\u003e \u003c\/sup\u003ereturned home with it.\u003c\/p\u003e \u003cp\u003e King Khosro Anushirvan studied the book deeply and was so impressed by the wisdom it contained that he began to collect books with great diligence and sought out learned men to come and live in his court. Then he built a great library in his palace, in which the book he esteemed so highly—the \u003ci\u003ePanćatantra\u003c\/i\u003e—wasgiven the place of honour, 'being of examples and instructions for man's life, and also of Justice and the feare of God . . . . '\u003c\/p\u003e \u003cp\u003e Burzoeu is reported to have asked as his sole reward, the honour of having his life and exploits form part of the book he had brought back from India; which it certainly has. A happy ending indeed, to Burzoeu's travels and travail; the pity is that his\u003csup\u003e \u003c\/sup\u003eown version of the original Sanskrit text he used (also lost), is lost to posterity.\u003c\/p\u003e \u003cp\u003e Judging from the English versions of the \u003ci\u003ePanćatantra\u003c\/i\u003e, that of Sir Thomas North which is several removes from the Arabic version\u003ci\u003e, Kalilah wa Dimnah\u003c\/i\u003e, and the recent translation of the same\u003c\/p\u003e \u003cp\u003e text by Thomas B. Irving,\u003csup\u003e5\u003c\/sup\u003e it would appear that Burzoeu or al-Moqaffa\u003csup\u003e6\u003c\/sup\u003e was much more of a moralist than the venerable Indian sage Bidpai whom we know as Visnu Śarma. Indeed, we might suspect that the Persian and Arab and their medieval European successors in the transmission of the \u003ci\u003ePanćatantra\u003c\/i\u003e were attracted to the work by the 'moral philosophy' that it contained. The tales might have been regarded as incidental to the message. Whereas, in fact, what makes the \u003ci\u003ePanćatantra\u003c\/i\u003e a unique work and fascinating to study, is the intricacy of its structure: the art and artistry with which the tales are interwoven with the discourse; the skilful blend of narrative and dialogue with maxim and precept; the over-arching frame in which the tales and everything else are set, as we shall see later in the introduction. Another interesting feature of this very ancient work is the presence of a dual perspective—entertainment and edification. And an element of inconclusiveness in Book I which takes up almost half of the text, further adds to its literary merits.\u003c\/p\u003e \u003cp\u003e The \u003ci\u003ePanćatantra\u003c\/i\u003e has not only been enormously popular as an entertaining (and instructive) work of fiction, it has also had great influence on world literature as no other work of Indian literature has had. Arthur Macdonell points to its 'extraordinary influence on the narrative works of the whole Middle Ages' in Europe, and to the enrichment it brought into the literature of the those languages in which versions of the work were made \u003ci\u003e(India's Past;\u003c\/i\u003e p. 122). Because of its great antiquity and its extensive migrations, traces of its influence might be detected in works of literature so widely separated in time and place as \u003ci\u003eThe Arabian Nights\u003c\/i\u003e, the \u003ci\u003eGesta Romanorum\u003c\/i\u003e, Boccacio's \u003ci\u003eDecameron\u003c\/i\u003e and Chaucer's \u003ci\u003eCanterbury Tales, The Fables\u003c\/i\u003e of La Fontaine, some stories of Grimm, and in the most unlikeliest of places, the Br'er Rabbit stories\u003csup\u003e7 \u003c\/sup\u003ecurrent in the southern United States. However, if we are to pick the two works that display an unmistakable and notable influence of the \u003ci\u003ePanćatantra\u003c\/i\u003e, they would be \u003ci\u003eThe Arabian Nights\u003c\/i\u003e and La Fontaine's \u003ci\u003eFables.\u003c\/i\u003e La Fontaine acknowledges his debt to our text when he expressly states in his preface to the second edition of \u003ci\u003eThe Fables\u003c\/i\u003e (1678), that the greater part of the new material was 'derived from\u003c\/p\u003e \u003cp\u003e the Indian sage Pilpay', whose work is regarded 'as earlier than Aesop's'.\u003c\/p\u003e \u003cp\u003e As we have seen, the name of 'the Indian sage' appears in some European versions as Bidpai. Strange indeed are the ways in which Indian names of places and persons appear metamorphosed in other languages in other lands. It is not easy to detect the original form of this name, Pilpay-Bidpai under its linguistic disguises. A. B. Keith and Thomas B. Irving\u003csup\u003e9\u003c\/sup\u003e (translator of the \u003ci\u003eKalilah wa Dimnah)\u003c\/i\u003e, suggest that it is a corruption of the Sanskrit name Vidyāpati. But it might just as well be the odd transformation of Vājapeyi,\u003csup\u003e10\u003c\/sup\u003e an honorific title assumed by Brāhmanas who had successfully performed the great \u003ci\u003ev\u003c\/i\u003eā\u003ci\u003ejapeya\u003c\/i\u003e sacrifice of the \u003ca href=\"\/article\/understanding-vedas\/\"\u003eVedas\u003c\/a\u003e.\u003c\/p\u003e \u003cp\u003e Within the country the popularity of the \u003ci\u003ePanćatantra\u003c\/i\u003e down the centuries has been unsurpassed, as the many recensions of the work in Sanskrit (Hertel lists twenty-five), and the numerous translations into other Indian languages indicate.\u003c\/p\u003e \u003cp\u003e Individual stories belonging to it which might have originally come out of folklore have passed back into that vast body of folktales current to this day, often without any knowledge of the work (the \u003ci\u003ePanćatantra)\u003c\/i\u003e that the specific story or stories were once a part of. Works of fiction written later, such as Dandin's \u003ci\u003eDasakum\u003c\/i\u003eā\u003ci\u003eracharitam (The Tale of Ten Princes)\u003c\/i\u003e and \u003ci\u003eSukasaptati (Seventy Tales Told by The Parrot)\u003c\/i\u003e, employ the frame structure of the \u003ci\u003ePanćatantra.\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e Like the great epic\u003csup\u003e11\u003c\/sup\u003e the \u003ci\u003eMah\u003c\/i\u003eā\u003ci\u003ebh\u003c\/i\u003eā\u003ci\u003erata\u003c\/i\u003e, the \u003ci\u003ePanćatantra\u003c\/i\u003e belongs to the rich, age-old oral literature of India. Even after it was committed to writing at some point in its transmission the work retains some of the characteristics of its origin as an oral text. We find certain formulaic phrases: 'as it is told'; 'as we have heard'; 'and then he said'. The use of two or three and sometimes several maxims or illustrations to make a point as in I.69, might also be a feature of patterns of \u003ci\u003espeech\u003c\/i\u003e rather than \u003ci\u003ewriting.\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e Because it belongs to the oral tradition of storytelling, the \u003ci\u003ePanćatantra\u003c\/i\u003e has undergone continuous and constant revision. For it has been narrated repeatedly, countless number of times over the long period of nearly two millennia. In the quadrangles and\u003c\/p\u003e \u003cp\u003e pillared corridors of temples, in the palaces of princes and mansions of wealthy merchants, in fairgrounds and market squares under makeshift awnings and under the spreading banyan tree in villages, wherever skilled and celebrated storytellers gathered a group of eager listeners round them, this very popular work must have been narrated. Kālidāsa mentions Village-elders\/well-versed in the Udayana tales', and 'skilful storytellers' who 'entertain their visiting kin', 'recounting old tales'. \u003ci\u003e(Meghad\u003c\/i\u003eū\u003ci\u003etam)\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e Music might have been a part of the narration: singing, drums and a primitive lute like the one still used by wandering minstrels and performers in the oral tradition. Miming and dance might also have been part of a storytelling session, as they still do in the country, forming part of the performances of contemporary storytellers such as the fabulous Teejan Bai and others. These have always been part of the storytelling tradition.\u003csup\u003e12\u003c\/sup\u003e An example in the West of a story told to the accompaniment of music is that of the narration of \u003ci\u003ePeter and the Wolf\u003c\/i\u003e, with music by Prokofiev.\u003c\/p\u003e \u003cp\u003e Since a text in the oral tradition is not \u003ci\u003efixed\u003c\/i\u003e as a printed text is, a storyteller has some scope for inventiveness and a certain freedom to exercise his imagination. Working within certain given parameters, he can introduce changes by varying the details of narrative and dialogue; by expanding or condensing the discourse; by altering the point of view and so on. A skilled storyteller is both creator and narrator. By making revisions in the oral text handed down to him he exercises his rights as a creator while preserving the continuity of the tradition.\u003c\/p\u003e \u003cp\u003e It might be assumed that revisions in an oral text are made with an eye to \u003ci\u003erelevance\u003c\/i\u003e to the place and time of narrator and audience. The narrator or \u003ci\u003estoryteller\u003c\/i\u003e has a relationship with his audience and establishes a rapport with it that are denied the \u003ci\u003estorywriter.\u003c\/i\u003e He can improvise on the spur of the moment, adding something, leaving out something else because he has an instant feedback.\u003c\/p\u003e \u003ccenter\u003e\u003cb\u003e\u003cu\u003e\u003cfont size=\"5\" color=\"RED\"\u003eSample Pages\u003c\/font\u003e\u003c\/u\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/ihl402a.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/ihl402b.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/ihl402c.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/ihl402d.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/ihl402e.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/ihl402f.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/ihl402g.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/ihl402h.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/ihl402i.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/ihl402j.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/ihl402k.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/ihl402l.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/ihl402m.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/ihl402n.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/ihl402o.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/ihl402p.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/ihl402q.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/ihl402r.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e\n\u003c\/div\u003e","brand":"Occultnthings","offers":[{"title":"Default Title","offer_id":44619442946349,"sku":"IHL402","price":41.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2094\/2117\/products\/ihl402.jpg?v=1677759794","url":"https:\/\/occultnthings.com\/products\/pancatantra-ihl402","provider":"Occult-N-Things","version":"1.0","type":"link"}