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Di R G Hazra, while elaborating the point further writes, "Trom a study of the Mahabharata, Ramayana, Manusrnrti and the Puranas we learn that the Vedic god Prajapati, who was regarded as the father of creation and as Svayambhu (self-born), came later to be identified with god Brahma, the creator As the nine mind- born sons of this god (Brahma) were entrusted bv then father with the work of creation, they came to be known as "nine Brahmas" (nava Brahmanah) and consequently the oiiguial Biahma.

was called 'Pitamaha* (grand- father) in relation to the created beings ISfow, in the Tarittmya brahrnana, 5atapatha Biahmaua, and some other works of the Vedic litera Uue we aie told the hotsc (asva) originated from Piajapati's eye which had swollen (asvayat) and had consequently been discarded by him, that it was Prajapati who produced all the sacrifices including Asvamedha, arid that after creating these sacrifices he assigned them to relevant gods but kept the Asvamedha for himself So there is little scope ior doubt that it was the Asvamedha (Horse sacrifice) which, being thus a Praja- patya Yajna was also called Paitamaha Yajna This identification 8 Ibid p c 9 66 [VOL.. 1 of the Asvamedha sacrifice with the 'Paitamaha Yajna' finds strong support in.

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Others, however, appear to be related more to the ideal of the military hero the protector Lord who continually slays 27. His action, is likened to the activity of a child at play "This is my firm resolve " He said this Then., taking Govardhana with one hand Krsna held It up with IHa as a little child holds up an umbrella 3O When the storm is eventually over, Krsna replaces the moun- lain "with lila''' 3L In the following chapter the cowherds give expression to the amazement and fear which they feel at witnessing such a remarkable event "How could this seven-year-old hold up with Itta, m one hand, the foremost of mountains like the king of elephants holdig a lotus ?

the river bank Perhaps the most notable aspect of this Ilia is the sexual com- ponent. But it is the women who are infatuated by the infant, the toddlei, the cowherd boy, the young 22 (Jagadtsacakravartikrta Mahabharatatlka Sabhaparva, Asiatic Society Catalogue, Calcutta, v 3404, quoted in V Raghavan, Homages to Vyasa, All-India Kashiraj Trust, Varanasi, 1963, p 13) Verses with similar meaning are common among pandits and people See The Dynamic Canon of the Purana-s in Puratia, Varanasr, Vol XXI, No 2 (July, 1979), pp. ARAMPAB ^T II 24 cd ^SI^W H 25 ab (Skanda P V 3 1 24 cd-25 ab) 'The purana was one during this kalpa, O king, the four- faced god remembered and sang it befoie the mum-s' So even before Vyasa intervened to narrate his puraiia, Brahma had already sung it to the mum-s. XXH 0 NO, 1 'Suta said In front of you, O dvya-s, I will proclaim just what was known by Kasyapa in ancient times, made by sage Vyasa, narrated previously by Brahma in front of Vyasa 3 the Lord himself.' The three layers aie here clearly qualified, each one having its own function the story , it is said, was narrated by Brahma, was known to Kasyapa, and was made up or composed by Vyasa So the first layer constitutes the moment of revelation and the deity is the agent, the second one stresses the acquaintance Kasyapa somehow symbolizing m-s, mvm-s, prajapati s etc has got, which implies the handing over, the third one lastly specifies the role of Vyasa as the 'doer', the systematizei , arrangei or composer, which is a privileged role befitting Vyasa because he had heard the story from Brahma himself and he himself is the Loid The lines quoted above indeed presuppose the existence of another person, the actual speaker, who is Suta It is in fact he who will narrate the story in the purana This presence of Suta in the above lines indicates on the one hand that the third layer is a composite one, 111 it in fact we meet with Vyasa and Suta at least On the other hand it gives a hint towards the actual composer of the purana-s as we read them now. and otheis, whatever their meaning might be, their presence in this third layer does not invalidate the conclusions reached above A particular problem is represented by the parallel patam- para~s Sometimes there are two different traditions coalescing in the same purana, as in the case of Padma purana, where I 1 2ff give as parampara Ha.il, Brahma, Narada, Vyasa, Suta, while V I 2ffl ave the sequence Svayambhu, Satkullya, Suta, Saunaka In this and similar cases we can suppose that the puraua has gathered two or more different sources, which stemmed from different authors or different areas This would be a particular case of a common tienel of the purana-s, which are works composed from different sources But there arc other cases In which the purana-s claim to have been narrated somehow parallely by different persons to diffe- rent listeners Kfirma P II 44 143 says that the purana was ruinat- ed by Brahma to Saunaka and Sanatkumara, from Saunaka then it passed to Devala and later to Pancasikha, from Sanatkumaia, in- stead, it went to Vyasa, Suta and the rsi-s. 36, I 92 3, Brahmanda PI 1 7c, Vayu P I 1 6 43 The problem is very complex in fact., because even a single purana can be formed of several puranasamhtta-s, see S ma Purana, 7 50 SW^ PURA^A (. Markandeya P 4521 says openly that the fmrauasamhtta-s were made by the m-s The problem needs further consideration Although mdood the puraaa-s claim that puianasatuttitu-*, existed even before K.



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