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The Journal of the Royal Institute of Thailand Volume II - 2010 Peace and Non-Violence in Phra Aphai Mani, A Poetic Tale by Sunthon Phu 30 and peacocks to dance. His song can also make soldiers think of their home and family and no longer wish to fight. In Phra Aphai Mani the pipe song not only makes soldiers think of their home but also sends them to sleep. Additionally, the pipe has the power to kill too. The use of the staff as a war weapon is also of Chinese origin. Sisuwan, Phra Aphai Mani’s younger brother, is a talented fighter with his staff. Yet this does not make Phra Aphai Mani less original. Sunthon Phu is only capturing the trend of the time. Sunthon Phu was very much aware of the current events of his time. For example, he knew that Lanka (Ceylon, now Sri Lanka) was ruled by the Europeans during his time. He knew about foreign nations such as England, France, and Holland, besides Asian races such as Javanese, Malays, Tamils, Chinese. Phra Aphai Mani, the hero, learns to speak foreign lauguages fluently while he lives with ship- wrecked people in the Crystal Isle. The music box in the story is the forerunner of the gramophone and the Pirate Surang’s gigantic ship is the forerunner of the Titanic. The most important of all, Sunthon Phu recognizes the value and the power of music. Phra Aphai Mani explains to the three Brahmins: Mora, Sanon and Wichian, “The worth of music, it includes all things Of untold value, like a priceless gem. Humans, garudas, heavenly beings, Four-legged beasts that roam the jungle wild, Upon hearing the music from my pipe, All lose their rage and wildness. Calm they become, and sleep unknowingly. An art of such great merit music is.” ( Phra Aphai Mani Part I. 1999, 21) In Phra Aphai Mani , the hero puts music to good use, i.e., when all else fails to bring peace, Phra Aphai Mani plays his pipe to achieve peace. In Sai Han , music is only a war weapon while in Phra Aphai Mani , the chief hero Phra Aphai Mani uses music to avoid violence, to stop the fighting and killings. The concept of music in Phra Aphai Mani is never out of date. Zubin Mehta, celebrated Indian conductor and music director, gave an interview on October 24, 2010 to the Bangkok Post. He says that he has been a political activist of sorts, holding public performances in areas of unrest. His mantra is “music has the power to create understanding and make things well again.” (Woolsey B, 2010, 12)