I was looking at the Hitopadeśa for the Sanskrit (see here and here), but now I’ve read it, in G.L. Chadiramani’s translation. The book is medieval (it’s impossible to date exactly) and it turns out to recycle a lot of material from the earlier Pañcatantra. Both works used to be very familiar to Western audiences; versions were known in Europe as early as 1252 (via Arabic), and La Fontaine borrowed some of the stories. The Indian originals were discovered in the 1700s, and for decades the Hitopadeśa was one of the first books you learned as a Sanskritist.
The framing device is simple. A king has a problem: his sons are, in a word, nityamunmārgagāmināmanadhigataśāstrāṇām. That is, they are constantly going astray and never read books. A sage offers to take them in hand, and his infallible method is to tell them animal fables.
Sadly, this framework is never really expanded upon. We never see the sons straying or even talking back to the old sage; we don’t even learn their names. They’re trotted out at the beginning of each chapter, apparently rapt at his stories. Well, they didn’t have video games back then.
There are four chapters: acquiring friends; separating friends; war; peace. Each has its own framing story, which is far more interesting. Plus the author frequently springboards off into other stories, and everyone is constantly reciting long sets of moralistic verses.
I’ll illustrate by retelling one of the stories.
The prince Tungabala was appointed governor of a city named Virapura. He fell in love with Lavanyavati, the wife of a merchant’s son. As is explained by a verse:
Arrows in the form of glances,
By beautiful ladies having black eyelashes,
Shot after being drawn
From the bow of their eyebrows,
Extending to the region of the ears,
Pierce through the guts of a man and reach his heart.
Which is to say, she had fabulous eyebrows. Fortunately for Tungabala, she was smitten by him as well. But she was unwilling to cheat on her husband.
Tungabala had sent a female messenger to negotiate with her. (He probably read the Kāmasūtra, which advises just this method.) The messenger came up with a plan for him. He appointed the woman’s husband Carudatta to high office and made him his confidant.
Then he bathed, anointed himself with sandalwood perfume, and announced that he was making a special vow. He told Carudatta to bring him a different woman every night. Each night, he greeted the woman, worshipped her without touching her, and sent her away loaded with rich presents.
Carudatta became greedy, thinking that he could easily acquire these presents by bringing his own wife. Of course his wife obeyed his request. The moment the prince saw her, he embraced her and they made love all night. Carudatta was extremely depressed.
This story is actually told as a teaching tale, told by a mouse to his friends in the first chapter. The connection to their predicament is quite loose: the mouse is basically saying “If you persist in your plans, you will end up sad, like the merchant’s son in this story.”
Now, I’ve just told the bare story, but this is not enough for the author. First, everything is sprinkled with illustrative verse proverbs, and not just one but several. By bulk, the book is mostly these verses. Presumably the sage’s trick is really to impart all these moralistic verses, the stories only being used to motivate the princes’ curiosity.
But also, each set of verses tends to end with an allusion to another story, and of course whoever’s listening immediately has to hear it. In the case of the above story, the female messenger, proving that Tungabala needs a trick to get what he wants, tells the story of a jackal who brings down an elephant by a trick.
(Oh, you want to hear that story, do you? You little scamps, all right. An elephant comes into a region inhabited by jackals, and one of them realizes that he would feed them for months. But of course he is too strong to attack directly. So he goes to the elephant and offers him the kingship of the forest, based on his obvious majesty. He throws in a set of verses on the necessity of kingship. The elephant, greedy for the kingdom, follows him into deep mud, where he gets stuck. So the jackals eat him.)
The recursion goes pretty deep… it wouldn’t be unusual for the book if the jackal made his point by telling yet another story.
Curiously, in the war and peace sections, the author seems to have gotten more interested in the framing story— the tale of a war between the sea birds (whose king is a swan) and the land birds (whose king is a peacock). It covers both chapters and is far more involved. You get to know the chief ministers of both kings, their spies, and the ruses they use in war.
Would you enjoy the book? I think the fables themselves are great fun, not only good stories in their own right, but a window onto premodern Indian attitudes and values. Where the verses are moralistic, the stories are often earthy— as in the above example, which doesn’t really bother to condemn the prince’s adultery, but laughs at the greedy merchant’s son.
The verses are a harder sell. There are an awful lot of them, and most are not to modern tastes.
A wicked wife, a deceitful friend,
An impertinent servant,
And staying in a house infested with serpents;
Will without doubt lead to death.
Unless you have Samuel Jackson on board, at least.
Anyway, you could skip all the verses, though that would hardly be reading the Hitopadeśa. If nothing else, they tell us something about the society. Like our own proverbs, they are often contradictory— e.g. there are verses about the treachery of strangers, and verses about the sacredness of hospitality; kings are advised to be kind, and also advised to be harsh. But the verses in the war and peace section give a glimpse into Indian statecraft (e.g. advising against hasty moves to war, and warning about various kinds of poor advisors), and there are other interesting bits— e.g. the verses really hate misers: they praise giving away money the highest, but find enjoying it also praiseworthy.
Another advantage of the book: it doesn’t require any great knowledge of Indian history or culture, though there are allusions here and there for those who do know it. And it’s pretty short, so it’s not a major time investment, like the Mahābhārata .