Since the invention of the Indian writing system around the third century BC, Sanskrit literature was no longer exclusively oral. However, not all genres immediately adopted the new possibilities.... Show moreSince the invention of the Indian writing system around the third century BC, Sanskrit literature was no longer exclusively oral. However, not all genres immediately adopted the new possibilities. In order to fully understand the orality and writing of Sanskrit literature, I will first define a threefold division of what I call ‘the compositional complex’, the totality of processes involved in the creation of texts and their subsequent usages. The first stage is the composition of the text, the second is its preservation for the sake of future generations, and the third is its transmission to the audience. Each stage can be oral or written. After a brief discussion of secondary literature on the compositional complex of the Vedas, the Mahābhārata and the Purāṇas, I look for textinternal evidence for the compositional complex of Purāṇas in the Bhaviṣyapurāṇa, ‘the Purāṇa of the future’. On the basis of this single Purāṇa, it is possible to make a reconstruction of the composition, preservation, and transmission of Purāṇas, where orality and writing intertwine. Show less
The Skandapurāṇa is one of the many textual sources that narrates Viṣṇu’s manifestation myths. It tells the stories of Narasiṃha (Man-Lion), Varāha (Boar) and Vāmana (Dwarf) in its own distinctive... Show moreThe Skandapurāṇa is one of the many textual sources that narrates Viṣṇu’s manifestation myths. It tells the stories of Narasiṃha (Man-Lion), Varāha (Boar) and Vāmana (Dwarf) in its own distinctive way. The greatest innovation is the addition of thus far unprecedented sequels to the stories. Whereas Śiva played a minor role, or no role at all, in the narratives as they were known at the time of composition of the Skandapurāṇa, he becomes indispensable in the “afterlife episodes” of the manifestation myths. Each afterlife episode follows the same structure, in which Viṣṇu is unable or unwilling to give up his manifested form. He is liberated from it by Śiva, who subsequently grants Viṣṇu a boon as a reward for his deeds and devotion to Śiva. From a Śaiva perspective, the boons become grander each narrative: first, Viṣṇu receives the important cosmic task in the Śaiva universe of destroying the gods’ enemies, then he formally joins the Pāśupata Śaiva community by performing the Pāśupata observance, and finally, he reaches union with Śiva, i.e., liberation from the continuous cycle of rebirth, by performing another Pāśupata observance. By introducing “the principle of end weight”, I will argue that this radical, new identity of Viṣṇu is expressed at a strategic place in the narrative, viz. at the very end, which is the part that is remembered most vividly. Show less
In her dissertation Revealing Śiva’s Superiority by Retelling Viṣṇu’s Deeds – Viṣnu’s Manifestation Myths in the Skandapurāṇa, Sanne Dokter-Mersch examines three myths in the Skandapurāṇa, a... Show moreIn her dissertation Revealing Śiva’s Superiority by Retelling Viṣṇu’s Deeds – Viṣnu’s Manifestation Myths in the Skandapurāṇa, Sanne Dokter-Mersch examines three myths in the Skandapurāṇa, a Sanskrit Purāṇa composed in the sixth to seventh century. Although myths about god Śiva and devotion to him are central in the text, it also contains narratives about other gods. This dissertation focusses on those myths in which god Viṣṇu manifests himself as Man-Lion (Narasiṃha), Boar (Varāha) and Dwarf (Vāmana) in order to conquer the enemies of the gods. At the time of composition of the Skandapurāṇa, Śiva and Viṣṇu each had their own religious ideology and devotees, which raises the questions why the composers of this Śaiva Purāṇa dedicated so much attention to Viṣṇu and how these manifestation myths are retold. With the help of different (narratological) methods, Dokter-Mersch addresses these questions by looking at the manifestation myths as part of a literary genre, the Purāṇas. Show less
