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vation on the liminal nature avatars in general (cited earlier, p.185), it is important
to the plot of the Rāmāyaṇa that Rāma, at least, should be human in form and be-
haviour. Only this will counteract the demon Rāvaṇa’s divinely given immunity
from death by all other classes of beings. Accordingly, rather than having Rāma
respond in a sagely manner to Rāvaṇa’s abduction of his wife, the Adhyātma-
Rāmāyaṇa (see p.249 above) has him think:
If I quietly sit in my hut in a detached mood, how will these trillions of demons get
wiped out? Lamenting in separation from the wife like the common folk, I shall
roam about to find her, and meet Rāvaṇa, the king of the demons. I will annihilate
him along with his entire tribe…. I have descended as a man. Therefore, I should
stay on the earth behaving as such.
21
The last point here presumably alludes to the traditional notion of svadharma (“in-
dividual duty”)—all beings, it is believed, ought to behave in accordance with the
svadharma appropriate to their birth
22
, in this case, birth in a human form. But
there are theological issues here too; Aurobindo (1958:409) writes that:
The Avatar is not supposed to act in a non-human way — he takes up human action
and uses human methods…. If he did not his taking a human body would have no
meaning and would be of no use to anybody. He could just as well have stayed
above and done things from there.
And Sathya Sai Baba presents a variation upon this type of understanding:
God assumes a role in the drama of the world in human form. He has to behave as a
human being only. This should be clearly understood… For every incarnation there
are certain rules and regulations [(19-09-1993) San (11-1993) 297].
A third reason given for the apparent human characteristics of Rāma is to spiri-
tually benefit his devotees—by releasing them from curses to which they had been
subjected (e.g. Adhyātma-Rāmāyaṇa 3:7.12-15), and Sathya Sai Baba sometimes
utilizes an interiorized take on this type of reasoning, saying of his present avatar:
It has now assumed human form and can be expected to have human traits and
even human failings, for, It has to deal with human frailties and rescue man from
himself [(18-12-1970) S10 38:251].
There does, then, seem to be much justification for Parrinder’s assertion that: “The
lives of Avatars mingle divine and human”, but we should note that this is pre-
sumably based upon Christian theological assertions that Jesus was fully God and
fully human (Parrinder (1970:223) sees most of his avatar traits as being applica-
ble to Jesus), whereas the “human” dimensions of the avatars seem to be a func-
21
C.L.Dhody, The Adhyātma Rāmāyaṇa (1995), p.96.
22
See Doniger (1978). Doniger even notes that there is a “svadharma for demons”.
3
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tion of their divinity—serving didactic and/or salvific purposes—God “acting”
human, rather than being human.
In this connection it is interesting to note that avatar concepts were from early
times associated with the theatre. Couture (2001: 319), in his recent study of the
term “avatāra”, writes that:
In theatrical language, the word avataraṇa (or the verb avatṝ) is a precise technical
term used to describe that movement performed by actors who move from the stage
wings onto the stage itself.
Couture (2001:324,n7) notes that ‘the dramatic performance (nāṭya) is said to de-
scend from heaven to earth because of an ancient curse’—recalling a major tradi-
tional motif associated with the avatars (echoed, as we have seen, in Sathya Sai
Baba’s personal mythology). There is thus, as Couture (2001:323) goes on to say,
an ‘extended śleṣa (or double entendre)’ in some accounts of the avatars:
Not only does Viṣṇu descend upon the earth (avataraṇa) to remove its burden
(bhārāvataraṇa), but he is also a naṭa or a raṅgāvatāraka [actor] who dons the most
unexpected disguises.
And, as we will see shortly, theatrical connotations are certainly prominent in the
avatar traditions and in Sathya Sai Baba’s avatar teachings.
Of course, the Nā
ṭy
a-Śāstra (“Treatise on Performance”), to which Couture re-
fers in making the above connection, dates to about the 2
nd
century
CE
, by which
time several more-or-less fully-formed avatar myths were already flourishing, so it
is not the case that there is anything intrinsically theatrical about the avatars—
other associations, such as that implied by the term bhārāvataraṇa (mentioned
above by Couture), are also important (see p.136 above). And, whilst theatrical
imagery attaches to some of the traditional auxiliary “technical” terms associated
with the avatars—their actions are said to be līlā, ‘(stage) play’, and their very em-
bodiment is said to take place through māyā, ‘(a magician’s) illusion’—we saw that
the term māyā, as it occurs in mythological contexts that prefigure its association
with the avatars, connotes “power” more than illusion.
Nevertheless, theatrical metaphors abound in the avatar traditions. We have al-
ready encountered the concept of līlā in the context of discussing Sathya Sai
Baba’s persona (see pp.45,216), and Matchett (2001:146) expands upon Couture’s
observations—writing of Kṛṣṇa that parts of the Bhāgavata Purāṇa focus on:
showing his life as a performance, accompanied by celestial musicians and presented
before a celestial audience…. so that Kṛṣṇa could almost be said to be ‘on stage’
throughout Book 10. He has already been compared to an actor in Book 1…. He
shows to Brahmā his ‘performance as a child belonging to a herder family’…. When