Nature as the Nascence of Knowledge in Vishnu Sharma’s Panchatantra: A

Critical Study through the Prism of Ecocriticism

Authors

Mostafijur Rahaman Md Zizaur Rahaman

Research Scholar Research Scholar

Department Of English Department Of Philosophy

Aligarh Muslim University Hemvati Nandan Bahuguna Garhwal University

Aligarh Uttar Pradesh Srinagar Uttarakhand

Mostafijur.amu@gmail.com mdzizaur@gmail.com

Abstract: Literary and artistic representations of physical settings and human-environment

interactions have captivated audiences since prehistoric times. Eco Criticism is conventional
nature writing by defining the boundaries between the worlds of humans and non-humans,
adopting a moral position, and demonstrating a dedication to the natural world. Literary criticism
that is oriented toward and arises from an interest in human and nonhuman collaboration and
interdependence is known as eco criticism. Ecocriticism first emerged as a deliberate movement
in the middle of the 1990s, it quickly expanded through the eco-conscious perspective, and
Panchatantra helps children acquire an environmental consciousness by illustrating the link
between the natural world and humanity in the stories. This is due to the fact that environmental
issues are highly visible in today's society and require quick attention to be controlled. In order to
do this, children and adults alike must be motivated to take part in and participate in
environmental preservation initiatives.

Keywords: Eco Criticism, Nature, Environment, Sanskrit, Philosophy

 Introduction

Literary and artistic representations of physical settings and human-environment interactions

have captivated audiences since prehistoric times (Meeker). The contemporary environmentalist
movement, which first appeared in the late 1800s and then and reappear in the 1960s, gave the
development of a plethora of creative and nonfictional publications concerned with humans'
evolving connection with the natural world. However, it has only been since the early 1990s that
the long-standing passion of literary scholars in these issues has given rise to the initiative known
as eco criticism, a diverse and fluidly integrated group whose contributions have thus far been
prominent inside the main discipline of literature but its goals and collaborations expand
throughout different kinds of art and media (Glotfelty and Fromm).

The concepts that encourage environmentally in literary and artistic examination may be clubbed
together under the umbrella term "ecocriticism." Critics now have an entirely new approach to
evaluating the text and the world. It addresses ecological concerns in all literary works including
nature writing. In addition to other ecological exploitations, it addresses issues related to
pollution, deforestation, climate change, global warming, and species extinction. This
interdisciplinary approach to studying literature and the environment brings together experts
from other fields to examine the environment and devise potential remedies for the current
environmental issues.

One of the greatest ways to foster and improve children's environmental consciousness is
through eco-writing in the form of children's books. Books and other resources that have been
developed for them and prescribed for their curriculum must place an intense focus on the topic
related protecting the environment. By examining the stories of The Panchatantra through the
lens of ecocriticism, children may learn about the link between nature and man and how to
protect it. This is due to the fact that environmental issues are more prevalent in today's society
and require quick attention to be controlled.
What is Eco Criticism?

The word ecocriticism was introduced by William Rueckert in 1978 in Literature and Ecology:
An Experiment in Ecocriticism. Word "eco" comes from the Greek "oikos," which means earth
or home, and word "logy" from the Greek word "logos," meaning reasoned conversation.
Rueckert claims that ecocriticism analyses literature using ecological or environmental concepts.
Ecocriticism can define as "a study of the relationship between literature and the environment
conducted in a spirit of commitment to environmentalist's praxis" (Buell 430).

Moreover, ecocriticism is in addition to environment studies; has set itself apart from
conventional nature writing by defining the boundaries between the worlds of humans and non-
humans, adopting a moral position, and demonstrating a dedication to the natural world. Literary
criticism that is oriented toward and arises from an interest in human and nonhuman
collaboration and interdependence is known as eco criticism. Ecocriticism first emerged as a
deliberate movement in the middle of the 1990s, it quickly expanded.

Environment nowadays does not refer to an extensive uncharted area full of wild, unpredictable,
or unmanageable non-human activities. Artificial ecosystems and man-made habitats make up
the bulk of our globe. Harvard entomologist Edward O. Wilson published an estimate in The
Diversity of Life, estimating that each year over twenty-seven thousand different species of living
things become extinct. he predicts, in the next thirty years, almost 20% of all species—plants
and including animals—will become extinct, marking "the sixth great extinction spasm" (Wilson
17)which will be a significant event in the history of evolution. He tries to demonstrate the
important part that people play in destructive deeds. Humanity's unsustainable lifestyle is putting
its own future in jeopardy. The renowned English historian Arnold Toynbee is quoted by Glen
A. Love in "Revaluing Nature: towards an Ecological Criticism" in the following manner:

“. . . Mankind now has the power to make the biosphere uninhabitable, and that it will, in
fact, produce this suicidal result within a foreseeable period of time if the human
population of the globe does not now take prompt and vigorous concerted action to check
the pollution and the spoliation that are being inflicted upon the biosphere by short-
sighted human greed.”(225)
Earth's resources are limited, and the more than just a small number of people utilizes them, the
remaining resources are left for the rest of humanity. In reality people are derail[ing] human
reason when they disturb the natural order. Constructing sky-high junkyards while excluding
birds from the sky; establishing golf courses in arid regions while converting the plains into
deserts; breeding domesticated animals while pursuing untamed ones; creating islands by
destroying mountains; clearing forests and contaminating oceans; and so on and so forth.

Ecocriticism denotes more than just examining nature in literature; it also denotes a shift toward
a more biocentric worldview, an expansion of ethics, and a widening of humanity's
understanding of the global community to encompass nonhuman organisms and the natural
world. Literary criticism from the feminist and African American communities also advocates
for cultural change by exposing previous narrow perspectives and attempting to shift the culture
towards a more inclusive one. Similarly, ecological literary criticism looks at how our culture's
narrow presumptions regarding the environment have prevented us from seeing an ecologically
sound human society (Branch xiii). Richard Kerridge’s definition in Writing the Environment:
Ecocriticism and Literature (1998) suggests that the ecocritics aim “...to track environmental
ideas and representations wherever they appear, to see more clearly a debate which seems to be
taking place, often part-concealed, in a great many cultural spaces. Most of all Eco criticism
seeks to evaluate texts and ideas in terms of their coherence and usefulness as responses to
environmental crisis (5).”

Eco Critical reading of Vishnu Sharma’s Panchatantra

Since the Veda, Indian philosophy has placed a high value on ecological design and given an
equal place to all living things. The tales of the Panchatantra are a collection of fables in India
that are considered to be among the oldest in the world. Panchatantra is sometimes referred to as
India's Eco Shastra since it treats ecology or environment as a part of "Nitti," in addition to
dealing with political and social issues. It has been translated into many languages and has
traversed the world to be assimilated and absorbed in various cultures and nations, whether
openly or surreptitiously. Even now, one or two stories from the Panchatantra are included as
part of textbooks in junior high school curriculum.
The stories of the Panchatantra have an extremely formative impact on children, even if it's
possible that their initial goal was to educate political acumen. Fables, by definition, raise
environmental awareness since they feature anthropomorphic forms, most notably speaking
animals and trees. In Panchatantra 'Nitti' basically translates to 'the skill of living a intelligent
life'. Living an intelligent existence means being in proper harmony with Nature as well as
handling everyday issues like safety, decision-making, relationship, firm conduct, and so forth.
Humans and their surroundings have always interacted. Although they both depend on each other
to survive, it is our responsibility as sentient beings to take care of and socialize with them. The
Panchatantra is separated into five sections called ‘Tantras’ (meaning ‘nitis’), and opens with a
preamble about Mahilaropya’s children, who had been ignorant and illiterate. The emperor
enlists the assistance of Scholar Vishnusarma, who trains the princes via tales, to persuade them
that they have qualities suitable of being princes. The stories he tells are divided into :
Aparikshitakarak (bad behavior), Labdhapranasha (profit loss), Kakulokiya (crow-owl fight),
Mitrabheda (companion departure), and Mitralabha (friendship acquisition).

Certain of the tales in Panchatantra foster environmental awareness in children and adults. These
stories demonstrate human views towards nonhuman life and the human-nonhuman world
interaction. Aditya Narayan Dhairyasheel Haksar says “…These stories display a fairly exact
knowledge and understanding of environmental phenomena, of seasons, of climatic changes, of
birds, beasts and vegetation. While describing animals and plants, the writers of these
anthologies show a great sympathy towards them. (‘Ancient Indian literature … phenomena’ )”.

The first ‘Tantra’ i.e. Mitrabheda opens with a story of a city merchant. After describing the city
of Mahilaropya in detail and all its magnificence, the setting rapidly turns to that of a jungle that
must be crossed by a trader Vardhamana and both of his bulls, Nandaka and Sanjivaka. The first
‘tantra’ depicts the jungle in precision, encompassing plants and wildlife. The forest was heavily
shaded, with plants such as acacias, sals, and dhaks and animals such as elephants, tigers, wild
oxens, and boars. The water was clean and plentiful, and beneath it were caverns to explore
(Ryder, 21). The representation is so beautiful that a child can easily envision oneself in such
idyllic surroundings, distant from the congested atmosphere of a city or town. The child who
reads it knows much regarding Indian forest creatures and plant life. When combined with a
nature excursion that recognizes some of the plants listed, the youngster gains a better
understanding of the protection or destruction of these flora or animals.

The framing narrative tells the tale of Sanjivika's owner abandoning him when he is hurt. The
trader and his companion’s steadfastness to continue their business with no consideration for his
survival. But Sanjivika quickly gets well after consuming the forest's newly sprouting green
grass. This is the first sign that environmental factors are important. An animal's ability to live is
aided by its surroundings' freshness. On the other side, Sanjivika's murder at Pingalaka's
direction as a result of the jackals' (Karataka and Damanaka) intrigue reveals how the food chain
works. The lion's natural diet is the bull, but the jackals who plan to have Sanjivika slain by the
lion are scavengers who eat on the flesh of a dead animal. The child unintentionally internalizes
this natural arrangement. The key traits of many different kinds in their natural surroundings are
described in the same framing tale. This is done in a fantastic way: in the form of poetry in the
stories "The lion scorns the jackal..." and "Dogs wag their tails and fawn and roll... (Ryder )".

There are tales like "Blue Jackal" that educate about jackals' group behaviour. The jackal is
apprehended because he can't help but react to other jackals' calls. The subject matter of the third
volume is owls and crows. We learn that owls are nocturnal creatures. We are aware that they
consume meat. However, man is condemned for being avaricious. The underlying message of
this is that man has the power to destroy his environment. Because cattle pull the plough through
both level and rough soil.

The lower status of nature is also depicted in the Panchatantra in "The Wedge-Pulling Monkey,"
where the monkey is seen as an ignorant, stupid animal that attempts to mimic man and
ultimately dies. In this instance, human is demonstrated as superior, and the stupid monkey
mimics his behavior. The problem of eco-consciousness is brought up in this story by educating
readers about how sometimes people's self-interest results in the deaths of defenseless animals. A
sense of ecological concern is also formed since both trees and animals are tied to the gods, and
there is no faith that allows disobedience to the gods or the animals associated to them.

Similar can be seen in the Panchatantra, where birds and animals are connected to the gods. For
example, serpent to the god Shiva, garuda to the Vishnu, lotus flower to the goddess Lakshmi,
dogs to the Yama, and so on. As in the tale, the writer has used these birds or animals in a
number of stories and when children and adults find these animals associated with gods they try
to save them and respects them as gods. for example, one gets the reference of the garuda bird in
the tale “The Shrewd Old Gander”, “How The Birds Picked A King”, and “The Weaver who
Loved A Princess. The following passages in Panchatantra best illustrate the importance of
Nature:

“Blest be the tree whose every part

Brings joy to many a creature’s heart

Its green roof shelters birds in rows,

While deer beneath its shadow doze

Its flowers are sipped by tranquil bees,

And insects throng its cavities,

While monkeys in familiar mirth

Embrace its trunk. That tree has worth;

But others merely cumber earth. (Ryder II 1)”

In these verses Pandit Vishnu Sharma commends the magnificent banyan tree bringing happiness

to so many creatures without expecting anything in return. Because of this, humans worship

Mother Nature, and it is our duty to safeguard the environment by focusing on the most

vulnerable and endangered elements of a rapidly changing world. The banyan tree counsels us to

have a "large heart" and live accordingly. We should adopt a patriarchal perspective on plants

and animals as it has been proven that we are ultimately responsible for their survival or

extinction.

In Panchatantra, animals are portrayed as artists with recurrent characters like the fox, in an

engaging tale of ‘Nitti’, or pragmatic knowledge. Swift is there throughout "Winning of Friends."
A comprehensive perspective on nature and its significance is presented by the animal

performers. Another poem highlights the value of nature in a similar manner.

“Shun pleasant days that listless pass,

The joy that hides In sloth.

For deer can eat the grass

That fate provides. (Ryder IV)”

When examined at the context, we may conclude that our acts are heavily influenced by fate;

however there is an underlying meaning that underlines the concept that Nature is driven by our

activities rather than fate. We should encourage the expansion of biodiversity and the

preservation of natural resources. Man and environment have always had a close relationship,

and we should be grateful to our ancestors for giving us access to such a diverse range of natural

resources. The Nature we see now is the outcome of our predecessors' strong eco-consciousness.

They believe in coexisting with nature rather than living apart from it. They were conscious of

both the benefits of living in tune with nature and the destruction caused by nature. As a result,

the fusion of nature and culture creates an environment friendly space between the conscious and

unconscious, as well as between the living and the dead. "Sustainable living" benefits from

"harmony" between culture and environment.

Conclusion

Thus, a peaceful existence depends on the synergy between culture and nature. Traditional

methods of protecting the environment should be seen as a source of guidance and inspiration for

the future, particularly in light of the dire repercussions of environmental deterioration that are

worrying people everywhere these days. Perhaps nothing else provides a more ecologically

healthy interaction with the environment and a wider variety of cultural practices than this one.
The most comprehensive book on nature is Panchatantra. It centres on the attitudes, values, and

convictions related to the multicultural universality of reverence for the natural world and its

constituent parts. According to S. K. Mishra, Indian philosophy has been infused with ecological

principles since the Veda that granted equal importance to all species. The nation's unique

physical environment, which runs from the Arabian Sea in its western part to the Bay of Bengal

in the eastern part and the Himalayas in its northern region, has a significant impact on people

(Mishra 168-170). That is not separate from literature. Through the eco-conscious perspective,

Panchatantra helps children acquire an environmental consciousness by illustrating the link

between the natural world and humanity in the stories. This is due to the fact that environmental

issues are highly visible in today's society and require quick attention to be controlled. In order to

do this, children and adults alike must be motivated to take part in and participate in

environmental preservation initiatives.

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