Hindu Myths (review)

The existing literature on Hindu mythology is vast. Anna Dallapiccola's Hindu Myths appears at first glance to be simply another introductory book on Hindu gods and goddesses. Closer examination, however, reveals that it provides an interesting selection of versions not commonly found in English translations.

The book is divided into six short chapters plus an introduction and a map indicating places mentioned in the book. Dallapiccola is a specialist in Indian art, and the organization of this book is inspired by the local stories and legends surrounding temple art representing various deities. The chapter divisions are guided by the image of Shiva (the god of destruction), who as Nataraja, the Lord of Dance, represents the five divine activities of preservation, creation, destruction, the power of delusion, and the bestowal of grace.

The introduction gives an overview of the foundation of Hinduism and the principle deities of Hindu mythology: Vishnu the Preserver, Brahma the Creator, and Shiva the Destroyer. It also outlines the significance of religious texts, including Puranas, Sthalpuranas (a collection of ancient texts from different regions) like Periya Puranam, Vedas, and epics such as Ramayana and Mahabharata, the primary sources for this book.

The first chapter provides an interesting account of the Puranic cosmography and explains the principle tenets of the Hindu belief system, such as the cyclical dimension of time and how the birth and dissolution of the universe is a continuous process. The next chapter, "Preservation," expands upon the concept of avatars (incarnations) and employs Vishnu Purana and Agni Purana to highlight the contribution of the various incarnations of Vishnu. This chapter also includes a synopsis of the epic Ramayana, which illustrates the life of Rama, and stories from Mahabharata and Bhagavata Purana to recount the life of Krishna, the two most popular deities in contemporary India. Chapter 3, "Destruction," is devoted to the powers of Shiva and his consort Devi, and employs examples from Shiva Purana and Srimad Devi Bhagavatam to illuminate the creative paradox of destruction.

Chapters 4 and 5, "Veiling and Unveiling: the Divine Power of Delusion" and "Anugraha: Bestowal of Grace," consist of versions from several South Indian texts (Sri Pampa Mahatme, Periya Puranam, Chidambaram Mahatmya, and Palani Sthalpurana). They include stories of royalties such as Bhagiratha, Harishchandra, Arjuna, and Prahlada; saints such as Kannappa Nayanmar and Karaikkal Ammaiyar; and animal devotees such as spiders, snakes, and elephants, who have attained liberation through their good deeds and divine blessings. Chapter 4 also explores the concept of maya, the mysterious power of the divine. While the story of Madhu and Kaitabha from Bhagavat Purana demonstrates that maya can be employed to confuse adversaries, the story of King Harishchandra extols the importance of steadfastness to conquer the powers of maya.

The concluding chapter, "The Living Legacy," outlines the significance of pilgrimage in Hindu culture and presents a brief review of the religious images and stories represented in popular art, films, television programs, and comic books. These examples demonstrate that Hindu myths are a part of the living culture of the people of contemporary India.

Although Dallapiccola has done a commendable job in summarizing a topic as broad as Hindu mythology and offering a fresh perspective, this book has very little to offer outside the realm of religious or South Asian studies. For example, the book does not contain any contextual information regarding the importance of these myths and their telling in contemporary India. The text of the book does not have a smooth flow and Dallapiccola does not share her criteria for the selection of specific examples employed to prove a point. A lack of bibliography or reference list indicating the edition and the versions from which various stories have been drawn leaves an interested reader without guidance as...