The Curse of Kehama

The Curse of Kehama (1810)
by Robert Southey

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First published in 1810, in a single volume format, this transcription is of the first edition. Subsequent editions published during Southey's lifetime were issued in two volumes.

188962The Curse of Kehama1810Robert Southey

THE

Curse of Kehama:

BY

Robert Southey.

ΚΑΤΑΡΑΙ, ΩΣ ΚΑΙ ΤΑ ΑΛΕΚΤΡΥΟΝΟΝΕΟΤΤΑ, ΟΙΚΟΝ ΛΕΙ, ΟΨΕ ΚΕΝ ΕΠΑΝΗΞΑΝ ΕΓΚΑΘΙΣΟΜΕΝΑΙ.
ΑΠΟΦΘ. ΑΝΕΚ. ΤΟΥ ΓΥΛΙΕΛ. ΤΟΥ ΜΗΤ.⁠

⁠CURSES ARE LIKE YOUNG CHICKEN, THEY ALWAYS COME HOME TO ROOST.

LONDON:

PRINTED FOR

LONGMAN, HURST, REES, ORME, AND BROWN,

PATERNOSTER-ROW,

BY JAMES BALLANTYNE AND CO. EDINBURGH.

1810.

TO

THE AUTHOR OF GEBIR,

WALTER SAVAGE LANDOR,

THIS POEM IS INSCRIBED,

BY

ROBERT SOUTHEY.

PREFACE.

In the religion of the Hindoos, which of all false religions is the most monstrous in its fables, and the most fatal in its effects, there is one remarkable peculiarity. Prayers, penances, and sacrifices, are supposed to possess an inherent and actual value, in no degree depending upon the disposition or motive of the person who performs them. They are drafts upon Heaven, for which the Gods cannot refuse payment. The worst men, bent upon the worst designs, have in this manner obtained power which has made them formidable to the Supreme Deities themselves, and rendered an Avatar, or Incarnation of Veeshnoo the Preserver, necessary. This belief is the foundation of the following Poem. The story is original; but, in all its parts, consistent with the superstition upon which it is built; and however startling the fictions may appear, they might almost be called credible when compared with the genuine tales of Hindoo mythology.

No figures can be imagined more anti-picturesque, and less poetical, than the mythological personages of the Bramins. This deformity was easily kept out of sight:—their hundred hands are but a clumsy personification of power; their numerous heads only a gross image of divinity, "whose countenance," as the Bhagvat-Geeta expresses it, "is turned on every side." To the other obvious objection, that the religion of Hindostan is not generally known enough to supply fit machinery for an English poem, I can only answer, that, if every allusion to it throughout the work is not sufficiently self-explained to render the passage intelligible, there is a want of skill in the poet. Even those readers who should be wholly unacquainted with the writings of our learned Orientalists, will find all the preliminary knowledge that can be needful, in the brief explanation of mythological names prefixed to the Poem.

CONTENTS.

PAGE
1.	The Funeral . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	1
2.	The Curse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	11
3.	The Recovery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	21
4.	The Departure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	28
5.	The Separation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	35
6.	Casyapa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	42
7.	The Swerga . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	57
8.	The Sacrifice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	74
9.	The Home Scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	83
10.	Mount Meru . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	93
11.	The Enchantress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	110
12.	The Sacrifice Compleated . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	124
13.	The Retreat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	131
14.	Jaga-Naut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	144
15.	The City of Baly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	157
16.	The Ancient Sepulchres . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	168
17.	Baly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	185
18.	Kehama's Descent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	194
19.	Mount Calasay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	202
20.	The Embarkation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	213
21.	The World’s End . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	219
22.	The Gate of Padalon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	227
23.	Padalon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	239
24.	The Amyreeta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	253
	Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	271

ΕΤΗΣΑΤΕ ΜΟΙ ΠΡΩΤΗΑ ΠΑΛΥΤΡΟΠΟΝ, ΟΦΡΑ ΦΑΝΕΙΗ⁠
ΠΟΙΚΙΛΟΝ ΕΙΔΟΣ ΕΧΩΝ, ΟΤΙ ΠΟΙΚΙΛΟΝ ΥΜΝΟΝ ΑΡΑΣΣΩ.
ΝΟΝ. ΔΙΟΝ.

OR I WILL FOR NO MAN’S PLEASURE
CHANGE A SYLLABLE OR MEASURE;⁠
PEDANTS SHALL NOT TIE MY STRAINS
TO OUR ANTIQUE POETS’ VEINS;
BEING BORN AS FREE AS THESE,
I WILL SING AS I SHALL PLEASE.

George Wither.

Brama,..............	the Creator.
Veeshnoo,........	the Preserver.
Seeva,...............	the Destroyer. These form the Trimourtee, or Trinity, as it has been called, of the Bramins. The allegory is obvious, but has been made for the Trimourtee, not the Trimourtee for the allegory; and these Deities are regarded by the people as three distinct and personal Gods. The two latter have at this day their hostile sects of worshippers; that of Seeva is the most numerous; and in this Poem, Seeva is represented as Supreme among the Gods. This is the same God whose name is variously written Seeb, Sieven and Siva, Chiven by the French, Xiven by the Portugueze, and whom European writers sometimes denominate Eswara, Iswaren, Mahadeo, Mahadeva, Rutren,—according to which of his thousand and eight names prevailed in the country where they obtained their information.
Indra,...............	God of the Elements.
The Swerga,....	his Paradise,—one of the Hindoo heavens.
Yamen,..............	Lord of Hell, and Judge of the Dead.
Padalon,..........	Hell,—under the Earth, and, like the Earth, of an octagon shape; its eight gates are guarded by as many Gods.
Marriataly,......	the Goddess who is chiefly worshipped by the lower casts.
Pollear,...........	or Ganesa,—the Protector of Travellers. His statues are placed in the highways, and sometimes in a small lonely sanctuary, in the streets and in the fields.
Casyapa,...........	the Father of the Immortals.
Devetas,...........	the Inferior Deities.
Suras,...............	Good Spirits.
Asuras,.............	Evil Spirits, or Devils.
Glendoveers,..	the most beautiful of the Good Spirits, the Grindouvers of Sonnerat.

This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.

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