Gods and Goddesses of Hindu Mythology

Mythology is a broad term. What truly defines mythology? Is the description of King Arthur leading the defenses of Britain a perfect fit? Do the stories of vampires feeding on the living come across the mind first? Perhaps mythology means absolutely nothing at all to an individual. All of these descriptions are valid; however, throughout this paper, mythology will be defined as follows: “…stories of anonymous origin, prevalent among primitive peoples and by them accepted as true, concerning supernatural beings and events, or natural beings and events influenced by supernatural agencies” (Gayley 1).

Although power was distributed abundantly in Hindu mythology, this paper is limited to focus on those sixteen gods and goddesses that come across as the most essential and influential, and they include the following: Brahma (Ions 41), Shiva (42), Vishnu (46), Indra (73), Vayu (80), Soma (81), Visvakarma (88), Dharma (88), Sarasvati (89), Lakshmi (90), Devi (91), Devi’s role Parvati (91), Saranyu (95), Prithivi, (95), Shasti (97), Shitala (97), and Vishnu’s avatars as follows: Matsya (48), Kurma (48), Varaha (48), Narasinha (50), Vamana (51), Parasurama (51), Ramachandra (54), Krishna (61), Buddha (72), and Kalki (72).

Once the meaning of mythology has been determined, one may find that there are several subdivisions within it. These subdivisions go on to include the following: explanatory, heroic, aesthetic, and teaching tales. Every mythology has its own way of describing these types of myths, which is what makes each myth unique and exciting.

Aesthetic myths have their origin in the universal desire for amusement, in the revulsion of the mind from the humdrum of actuality. They furnish information that may not be practical, but is delightful; they elicit emotion—sympathy, tears, and laughter—for characters and events remote from our commonplace experience but close to the heart of things and near and significant and enchanting to us in the atmosphere of imagination that embraces severed continents, inspires the dead with life, bestows color and breath upon the creatures of a dream, and wraps old and young in the wonder of hearing a new thing.

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(Gayley 432-433).

A story in the Hindu mythology that symbolizes an aesthetic myth would be the subtopic “Devi” (Ions 91). On the other hand, explanatory myths are defined as: “…the outcome of naïve guesses at the truth, of mistaken and superstitious attempts to satisfy the curiosity of primitive and unenlightened peoples, to unveil the mysteries of existence, make clear the facts of the universe and the experiences of life, to account for religious rites and social customs of which the origin is forgotten, to teach the meaning and the history of things” (Gayley 431). The most fitting example of an explanatory myth in the Hindu mythology would be the subtopic “Mountains” (109).

There is at minimum one heroic myth in every culture. The definition for a heroic myth is stated as “The hero starts out in the ordinary world, receives a call to adventure (quest), refuses the call, meets a mentor, crosses the threshold, has various tests and meets both enemies and allies, has a conflict—either external or internal about whether he can do this, undergoes an ordeal, receives a reward or seizes the sword, has to travel home, has an encounter with death, and finally, returns with the prize” (Campbell 77). I feel like the subtopic “Vishnu” epitomizes a true heroic myth in Hindu mythology.

Have you ever thought about how the world around you was created? After consideration of the aspects of a mythology, one might begin to wonder how it all came to be. Of course, every mythology possesses a creation story. On the other hand, mythologies also contain a story about the end of the world. Because Hindu mythology believed in the creation and destruction of the universe through cycles, these concepts will be weaved together and presented as so. The stories “Time and the Creation of the Universe” (Ions 24) and “Creation of Man and of Death” (Ions 24) describe the creation of the universe and the end of the world in Hindu mythology.

Finally, I will specify the aspects of this paper that were the easiest and the most difficult to execute. I will also describe the process of my thoughts and feelings throughout writing this paper.

First and foremost, I’ll start off the descriptions of the gods off with a god that was a part of the Hindu Triad: Brahma (Ions 41). Brahma rode a goose and was described as having crimson skin, quadruple arms, four heads, and wearing white robes (41). He held either the Vedas and his staff, a thread of beads, a bow, a water pitcher, or a spoon. Brahma was the Creator and was believed to have been one of the first gods (41). He was the shaper of the macrocosm and the keeper of the planet (41).

Another god significant to the Hindu Triad, Shiva (Ions 42). Shiva was often portrayed as a demon-slayer under the character name of Natesa and was occasionally seen wearing an elephant hide that belonged to an asura he assassinated (42). Shiva was depicted as a pale man with three eyes, five faces, four arms, and a blue throat (Ions 43). Shiva was the god of destruction, the god of fertility, the god of prosperity, the priest of the gods, and the supreme lord (Ions 42). As these roles of Destroyer and other positions, he was worshipped through the lingam or phallus (42).

The third and final god that was included in the Hindu Triad was Vishnu (Ions 46). Vishnu was often depicted as an attractive young man with cobalt skin wearing royal robes. He also had four hands; one held a conch shell, the second hand carried a heavy disk, the third hand carried a mace, and the last hand carried a lotus. Vishnu also owned a bow and a sword. Vishnu was essentially the preserver of the universe (46). His characteristics of compassion and goodness radiated from him (46). Most importantly, Vishnu had no need to make known of his power through force for he was the object of loyalty rather than terror (46).

Important to at least mention, Vishnu had ten incarnations that he took the form of in order to help him as his role of Preserver (Ions 48). These incarnations included Matsya (48), a fish; Kurma (48), a tortoise; Varaha (48), a boar; Narasinha (Ions 49), a half-lion and half-man hybrid; Vamana (49), a saint; Parasurama (49), a son; Ramachandra (Ions 54), another son; Krishna (61), a third son; Buddha (Ions 72), an advocate of the devil; and Kalki (72), a horse.

The Hindu Triad gained their authority through the shift of power from those known as the Vedic gods (Ions 73). To begin with, the god Indra (73). Indra was still the ruler of those belonging to the heavens, but he still had no authority over the Hindu Triad (73). Portrayed as a god that should have been feared, Indra threw thunderbolts and lightning from his gigantic white elephant Airavata (73). Overall, Indra was the god of thunder, administer of the atmosphere, and the guardian of the eastern fourth of the compass (73).

In addition, Vayu (Ions 80), the god of wind and king of the Gandharvas in Hindu mythology, had drifted away from his fame as a part of the Vedic triad (80). He lost loyalty because he was a devastating god that possessed a sensitive temper and brutal aspirations (80). Although Vayu’s home resides in the north-west quarter of the universe, he traveled everywhere he wanted to (80).

Furthermore, another Vedic god was that of Soma (Ions 81). While he trekked through the atmosphere, Soma was pictured as a cinnamon-colored man, dragging a red flag behind his chariot with three wheels, which was pulled either by ten ivory horses or a multicolored antelope (81). Soma, with the alias of Chandra, was wholly associated with the belief of the moon in Hindu mythology (81). Through the moon’s pleasure, he sustains animals, insects, and men (81). The moon not only was pleasurable but also provided nourishment to the agricultural life that mortals fed on (81). Because of these accounts, Soma was regarded as the nectar from which the gods acquired their strength; and also as the moon that increases and decreases depending on the calendar (81).

Moreover, another Vedic god was Visvakarma (Ions 88). Although this name meant ‘unlimited in creative power,’ it slowly began to refer to the godly craftsman (88). He was respected not only for the formation of the universe but also for commencing sacrifice and sacrificing himself (88). Ultimately, Visvakarma’s role was the architect of the gods (88).

Finally, when the mission of Hindu became the journey to redemption, a new god appeared named Dharma (Ions 88). Dharma epitomized equity, morality, and righteousness (88). Fundamentally, Dharma was proclaimed to have been the son of the sun (88). He also seemed to stand in between the supreme triad of gods and the other deities when it came to the level of importance (88). Although Dharma was a Vedic god, he didn’t attract much mythology, unlike the previously mentioned Soma (88).

Other than the multiple gods including the Hindu Triad and the Vedic gods, there were also many goddesses that were important to Hindu mythology.

To begin immediately, Sarasvati (Ions 89), the spouse of Brahma (89). Although Sarasvati had a haughty nature, she was an elegant woman, carrying herself gracefully (89). Her body was adorned with milky white skin, and her brow wore a lunette (89). If she was not seated on a lotus flower, Sarasvati rode a peacock or a swan. Coincidentally, she shared her name with the river of which she was the goddess of (89). Sarasvati was the goddess of everything encompassing the creative arts (89). In particular, Sarasvati ruled over poetry and music, educating with the sciences (89). She, as a water goddess, was glorified for decontaminating, pollinating, and enhancing powers, and for pouring all the way into the ocean (89).

In Hindu mythology, femininity was crucial. Lakshmi (Ions 90), another goddess, embodies feminine beauty (90). She gained her importance through being the partner of Vishnu (90). Though her significance branched from Vishnu, she shared his power in being Preserver (Ions 91). Because she aided in preserving the world, she was sometimes associated with good fortune (91). However, as the incarnation Sita, she was known as a capricious goddess, representing an ever-changing fortune (91). When alongside Vishnu, Lakshmi was depicted as displaying her faithfulness to him by rubbing his feet as he laid on coils of a snake (91). Nevertheless, when Lakshmi was glorified by herself, she was said to have been the female energy of the highest-ranking being, ‘mother of the world’ (91).

The most important goddess to mention was Devi (Ions 91). As the great goddess, Devi was the most composite and the most powerful goddess (91). Devi possessed traits that revealed both her role as the great mother goddess and as Shiva’s partner, where she was acknowledged as his female energy (91). Additionally, Devi also shared roles with Shiva through different names (91). Throughout this duality of names, it was evident to see the characteristics of Devi as the carrier of fertility and inflicter of sacrifice (91).

Parvati, Shiva’s wife, was reborn as this form when the gods were in need of a military commander (Ions 91). Parvati’s skin transformed from its usual black color to golden as a result of her diligent devotion to Shiva (91). As a result, she was known as the god of light, beauty, and devotion (Ions 92).

Altogether, the three goddesses aforementioned, Sarasvati, Lakshmi, and Parvati, make up what was known as the triad of goddesses (Ions 94). Each god of the Hindu triad, Shiva, Vishnu, and Brahma saw a feminine form shining from the heavens and wished to possess it (94). As a result, the deity split into three separate forms that portrayed the Past, Present, and Future (94). These forms were the ivory goddess, Sarasvati; the crimson goddess, Lakshmi; and the ebony goddess, Parvati (94).

Other than the triad of goddesses, there were other gods of importance in the Hindu mythology. Prithivi (Ions 95), the sustainer in Hindu mythology, was usually the power who brought the damage and oppression from the demons to the attention of the other gods (95). However, she later became neglectful to those who looked to her for nourishment (95). Throughout Hindu mythology, Prithivi was seen as the Earth itself and gave nothing but wealth and nourishment to those who wounded her (95).

A feline goddess, Shasti (Ions 97), was significant in Bengali Hindu mythology (97). Shasti was depicted as the protective deity of childbirth and protector of children (97).

In similarity, Shitala protects against the evil she herself causes (Ions 97). Unfortunately, Shitala as the goddess of smallpox, and she often searched for victims (97). She was also identified with Devi and her multiple names when in the role of the goddess of disease (97). Shitala was depicted as wearing crimson robes and carrying slender-leaved plants with her to punish her victims (97).

Throughout the story of the goddesses in Hindu mythology, situations were fraught with intense emotion. As mentioned before, Devi, the great goddess, possesses dualities of character that changed her position as a goddess (Ions 91). Under the name of Parvati, she possessed the role of the gods’ military commander and Shiva’s wife (91). Parvati was born to Shiva because his previous wife, Sati, had passed away (91). Because Shiva remained mournful of Sati’s death, Parvati saw devoting herself to Shiva as her purpose (91). In order to fulfill this purpose, she waited for Shiva to come and pursue her (91). However, because Shiva was practicing asceticism, he showed no interest in her (91). Parvati decided to pursue him by being stern in her devotions towards him (91). As a result, her skin transformed from its original black color to golden (91). Unfortunately, Shiva remained unaffected by her attempts at pursuing him (91).

To fix this, the gods sent Kama to rekindle Shiva’s heart with one of his arrows (Ions 91). The arrows seemed to rouse Shiva’s love for Parvati; however, he suppressed these feelings of passion and remained uninterested in her (91). Consequently, Parvati began practicing dangerous things such as starving herself, sitting in freezing water, and destroying her body (91). Then, a Brahmin approached her and inquired her about torturing her body (91). He laughed when Parvati explained that she wanted to marry Shiva because he believed he was a terrible, dirty beggar who was homeless and visited cemeteries regularly (91). Parvati didn’t disagree with the Brahmin, but she said that she still loved him and still wanted to pursue him (91). In order to change her mind, the Brahmin started insulting Shiva more to the point where Parvati covered her ears and screamed at him (91). Surprisingly, the Brahmin then revealed himself as Shiva, told her to stop torturing herself, and sent her back to her father (91). At the appropriate time, Shiva ended up marrying her in the Himalayas (91).

I believe that this myth fits the definition of an aesthetic myth because, as the definition of an aesthetic myth says, it does “…elicit emotion—sympathy, tears, and laughter—for characters and events remote from our commonplace experience but close to the heart of things and near and significant…” (Gayley 432-433). As Parvati was attempting to make Shiva fall in love with her, I felt the intense emotions of desperation and passion (Ions 91). Of course, I also held a great degree of sympathy for Parvati when Shiva continuously rejected her love (91). When Shiva, in due time, married Parvati, I could not help but undergo feelings of happiness (91). However, I was somewhat hesitant to celebrate their newly found love as a result of the multiple times Parvati had to resort to forcing Shiva to pursue her (91). As Shiva constantly ignored her, she eventually started torturing herself (91). Just that fact alone was enough to make tears start to well up in my eyes.

Even though this myth must have taken place in the past, parts of this situation still occur in modern relationships, and that is another reason why I feel like it is a great example of an aesthetic myth. Toxic relationships hit close to home for many people. Throughout reading this story, I experienced a lot of different emotions and that is why I believe it is a perfect example of an aesthetic myth (Ions 91).

Historically, mountains were a salient place in Hindu mythology (Ions 109). They exemplified strength when specific gods who were furious would swell to resemble them (109). However, they also represented oppressive weight when they were ripped apart and used as missiles by demons or gods (109). Interestingly, some of these mountains were considered deities (109). Included in these mountains, there were the most important ones such as the Himalayas, which include all of the heavens (109). There was a time where Vindhya, the divinity of the mountains, became envious of the abilities of the Himalayas as embodied in Himivan (109).

Vindhya ordered that the sun were to revolve around him just like it did around Himivan (109). However, Surya, the sun, declined, so Vindhya started to increase in size hoping that he would tower over Himavan and prevent the sun from seeing him (109). As a result, the gods called upon the sage Agastya, who was Vindhya’s instructor, to instruct his student (109).

Agastya told Vindhya to bow down so that his journey to the south and back would be easier (109). Out of respect, Vindhya followed Agastya’s commands while Agastya crossed over his back (109). In the end, Vindhya remained bowed for forever because Agastya had never returned (109).

To me, this myth perfectly epitomizes an explanatory myth. I believe this because a portion of the definition of an explanatory myth is that the myth should “…make clear the facts of the universe and the experiences of life, to account for religious rites and social customs of which the origin is forgotten, to teach the meaning and the history of things” (Gayley 431), and it superbly resembles that definition. This myth does this by describing the sacred and important origin of the mountains in Hindu mythology through the roles of oppressive weight and strength (Ions 109). Furthermore, this myth factually explained that, because they were deities, these mountains were a crucial part of the religious practices of Hindu mythology.

Additionally, the story of tension between Vindhya, Himavan, Surya, and Agastya included in the myth aforementioned briefly describes a factual account between the different mountains in the history of Hindu mythology (109). Personally, I learned a lot in this subtopic, and because it was explained well, I understood it perfectly. All in all, I feel like “Mountains” (Ions 109) explained the facts and experiences of the mountains in Hindu mythology quite well, and that is why it can undoubtedly pose as an explanatory myth.