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The Story of the Sadhu and the Mouse

The Story of the Sadhu and the Mouse: In the southern part of the country, there is a citycalled Mahilaropyam. Not far from the city, there wasa temple

The Story of the Sadhu and the Mouse - Cover - Amar Chitra Katha Style
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” In the southern part of the country, there is a citycalled Mahilaropyam. Not far from the city, there wasa temple dedicated to Shiva. A Sadhu, by the name of Tarqrachuda, used to live in this tem ple. Everyday hewould go into the city for alms and in this way, hesupported himself. “When the Sadhu had finished his evening meals, hewould put ‘what was left over in a begging bowl andhang it up. Then he would go to sleep. In the morninghe gave this food to the workers, who in return cleanedand swept the living place. ” N ow one day, my friends, the other mice said to me, 1

‘Hiranyakal The Sadhu is afraid that we will take hiscooked food, so he puts it in a begging bowl and hangsit up on a peg, so that we cannot reach it. But you are ‘so good at jumping that you can reach the bowl veryeasily. Why should we have to go to the bother ofsearching for food elsewhere when, with your help, wecan e njoy what is here.’ · “And so, I agreed to the plan and, we crept to theplace together and found the begging bowl hanging there. I reached i t without any difficulty and threwsome food down to my friends, standing befow. Then I had my share. Afterwards we all crept back to ourhomes. In this way, we enjoyed the food · night afternight. “When the Sadhu noticed that his food was being

stolen, he hung, his begging bowl still higher. However,. the minute he went to sleep, somehow or other, Ireached the begging bowl arid we did as usual.

“Finally he thought of a plan to put a stop to mymischief. When he was -wide awake, he would beat thebegging bowl with a split bamboo stick to frighten meoff. The minute he went to sleep, I would try. to reachthe food as usual but 1iomehow or other he would wake

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PANCH ATANTRA

up, and hit the begging bowl again. I would run awayas fast as I could but come back again after some time. In this way, we woul9 spend the entire night, fighting. “One day, a Sanyasi, by the name of Brihatsphinga; who was on a pilgrimage, came to the temple to seehis friend Tamrachuda. The Sadhu welcomed him withopen arms and was very hospitable towards him. B efore they finally went to bed, they talked about religion. Butas the Sadhu was thinking of us, mice, he kept hittingout at the begging bowl with the split bamboo stick. he was not attentive to the Sanyasi and so he gave onlyabstract and absent-mi’nded replies. Suddenly the Sanyasisaid angrily, ‘Tamra, chuda! It is now clear to me thatyou are no true friend of mi D; e. You are giving mevague and abstract replies. Now that you have a templeof your own, you have become proud. You have for gotten our old friendship and the love you had forme. For such behaviour you deserve to go to hell. Theysay, ‘”A hi>useholder should welcome aguest with thefollowing words, ‘Please take a seat and ma.ke. yourselfcomfortable. Yiou have ·visi.ted me after many -days. tell me,. what’s the latest news? Your are looking rather thin. Are you well?’ But, “A man who visits a house Where his host, seeing him enter, Continues to look absent-mindedly, Here and there and on the ground And answers with only half his attention, Such a guest is an ox without horns.’ -‘I ndeed, I can’t put up with such behaviour! I shallleave this very minute and go somewhere else.’. “Tamrachuda was shocked to hear the Sanyasi talkinglike this and he said to him humbly, ‘B hagawan, pleas don’t talk likethat. You are my dearest friend. Pleaselisten and I shall tell you the reason for my inattention. Every day, whatever is left over from my food, I putin ·a begging bowl and hang it high on a. peg.:_But.there’s a mouse that, somehow or other, manages to

W I N N I NG OF FRI ENDS

reach it. H e eats something from i t himself, then throwsthe rest down to the other mice. As a result, in themorning there is no food for the workers and theyrefuse to clean the place. That’s why I have been hittingthis begging bowl, to frighten the mice off. This is theonly reason for my lack of attentim to you. For jumping, this wicked mouse even puts a cat and a monkey toshame.’ -‘Do you know where the mouse lives? ‘ asked the Sanyasi. -‘N o, I do not,’ said the Sadhu. -‘Well,’ wertt on the. Sanyasi, ‘this mouse, wherever h emay be living, must certainly have accumulated quite alot of food, and this gives him a feeling of exaltationand consequently the energy to jump so high. They say: “When a man is wealthy, He becomes elated And his energy increases.” -‘For every action there is an explanation, As they say: ” Mother Shandili* had a reason When she tried to change The husked sesame seeds For unhusked ones.” ‘ -‘How was that?’ asked the Sadhu. And the Sanyasi told:

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What is the moral of THE STORY OF THE SADHU AND THE MOUSE?

The moral is: To value wisdom and make thoughtful decisions. This story teaches us that every action has consequences, and we must think carefully about the impact of our choices on ourselves and others.

What collection does THE STORY OF THE SADHU AND THE MOUSE belong to?

THE STORY OF THE SADHU AND THE MOUSE is from the Bengal Folk Tales, an ancient literary work. The Bengal Folk Tales is a timeless collection of stories that teaches important life lessons through memorable tales.

What age group is THE STORY OF THE SADHU AND THE MOUSE suitable for?

THE STORY OF THE SADHU AND THE MOUSE is best suited for Ages 6-10. Younger children will enjoy hearing it read aloud for its engaging narrative, while older children can read it independently and explore the deeper meanings and moral lessons embedded in the story.

Scene 1: Moral
Moral

Moral

The sadhu’s sacrifice – transforming a mouse into a human through years of dedication – teaches that love and faith can overcome even the deepest divisions of nature. His willingness to elevate the creature shows that seeing potential in others and nurturing it with patience creates possibility. Yet his regret at the outcome reminds us that transformation without understanding causes unforeseen harm.

Scene 2: Historical & Cultural Context
Historical & Cultural Context

Historical & Cultural Context

The Panchatantra (Sanskrit: Pañcatantra, “five treatises”) is an ancient Indian collection of interlinked animal fables traditionally attributed to Vishnu Sharma in roughly the 3rd century BCE. Composed to teach three reckless princes the arts of governance (niti-shastra), its stories were carried by merchants and translators across Persia, Arabia and Europe, seeding the world’s fable tradition.

A Mitra-Labha (Gaining of Friends) tale exploring transformation and unintended consequences, this narrative dates to the Panchatantra core (c.200-300 BCE). The sadhu’s magical transformation of the mouse serves as metaphor for education and the responsibility it carries. Sanskrit nitishastra texts teach that power without wisdom leads to sorrow; the sadhu achieves the magical result but fails to prepare the transformed being for existence. The tale appears in modified form in Kalila wa Dimna, where transformation of animals by human intervention carries unforeseen costs. The story warns against the arrogance of reshaping others without understanding full consequences.

Scene 3: Reflection & Discussion
Reflection & Discussion

Reflection & Discussion

  1. Why did the sadhu want so desperately to transform the mouse into a human, and what did he assume would happen after the magic worked?
  2. Have you seen someone try to change another person or help them become ‘better’ without really understanding what that person actually wanted?
  3. If the sadhu had asked the mouse (once he could speak) what kind of life he wanted before any transformation, how might the story have differed?
Scene 4: Did You Know?
Did You Know?

Did You Know?

  • Mice have excellent memories and can learn complex tasks. They communicate using ultrasonic sounds humans cannot hear.
  • The Panchatantra was written around 200 BCE by Vishnu Sharma to educate three young princes.
  • The Panchatantra has been translated into over 50 languages, making it one of the most translated works in history.

What This Tale Teaches Us Today

Old stories keep their power because their lessons never stop being useful. Here is how this one still applies:

  • Patience rewards itself. The characters who wait for the right moment usually outperform those who rush.
  • Humility is a survival skill. Proud characters in Panchatantra tales almost always lose.
  • Flattery is usually a warning sign. Powerful people should suspect, not welcome, the voices that agree with them too quickly.

Why This Story Still Matters

This story from the Panchatantra preserves wisdom that Indian teachers have used for over two thousand years to teach practical ethics. The Story of the Sadhu and the Mouse is a small but finished piece of moral engineering – each character represents a recognizable human type, each decision is a lesson in how people actually behave. Indian grandparents still tell these stories to grandchildren for the same reason ancient royal tutors told them to young princes: because the patterns described in the Panchatantra are eternal. Those who listen early in life make better decisions for the rest of it.

Cultural Context and Continuing Influence

Folk tales like this one survived for hundreds of years through oral storytelling before any scholar thought to write them down. Grandparents told them to grandchildren, travelers traded them along roads and rivers, and mothers repeated them to babies who would one day repeat them to their own children. Each small retelling sharpened the story, discarded unnecessary parts, and polished the essential lesson. That long process of refinement is why a good folk tale feels so weighty – it has been shaped by thousands of listeners across generations, each contributing something small to the story we read today.

Modern readers sometimes wonder whether folk tales are still relevant in an age of apps and smartphones. The answer is yes, perhaps more than ever. The technology changes, but the underlying questions – about kindness, courage, loyalty, greed, family, fear, love – do not. These are the same questions that children asked around a fire in ancient India, around a hearth in medieval Ireland, around a campfire in 19th-century Korea. And they are the same questions children ask their parents today, just phrased differently. That is why a family that reads folk tales together is doing real cultural and emotional work, not simply entertaining itself.

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