By Alf Hiltebeitel
The Hindu sacred order is guarded via the very gods who violate it and the demons who oppose it. This booklet is a who is who of such transgressive figures, either primary and unexpected, displaying their position in the Hindu order that they violate. it's also a mirrored image of the intense scholarly debate over the character and composition of this Hindu order.
The chapters diversity from pan-Hindu deities similar to Bhairava and Virabhadra to parent gods of particular areas and lineages and of alternative goddess cults. Chapters disguise violent subject matters in SAaivite hagiography, the placement of Brahmans with regards to cultic carnivorism, mum or dad heroes in folks epic, the deified lifeless, the royal mythology of a "criminal caste," and a wide-ranging evaluation of transgressive sacrality.
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Extra resources for Criminal Gods and Demon Devotees: Essays on the Guardians of Popular Hinduism
There is never really any doubt that he will come (literally) to this point: his entire career revolves around the twin facts of his lust for Ariyamalai and the punishment that, as his mother constantly reminds him, accompanies that lust. The whole conclusion seems overdeterminedby fate (viti), his father's curse, and the fact that only through Katta page_54 Page 55 varayan's impalement can the initial violation of balance and symmetry be healed, and the goddess restored to her place within Siva's body.
Far from achieving puranic respectability, the hero of the Natakam remains a low caste black magician and Trickster who, as such, marries the forbidden Brahman girl. The former text seems to have no qualms about Kattavarayan's demonstrated superiority over the standard village hierarchy as exemplified by the pure Ariyamalai. Not so the much longer and more detailed version of the Katai,which seems to describe a much more ambiguous and complex relationship between the Untouchable hero and his society.
2011 23:05:21] cover even to witness Siva himself begging at his feet. Unlike Maturaiviran, for example, who needs the grace of Minaksi to survive mutilation, Kattavarayan manages alone. 49 He offers no devotion, in effect recognizes no deity as superior to himself. His own divinity is no doubt related to his supreme readiness to undergo this sacrifice, but it is equally to be seen in his ability to emerge from the violent sacrificial arena still intact. But this victory cuts both ways. Kattavarayan's characteristic escape from death entails an equally characteristic element of loss, a continuation and, perhaps, the culmination of the theme of primary victimization that attaches to our hero from the beginning of his story.