6
6
6
6
1
1
.
.
I
I
N
N
T
T
R
R
O
O
D
D
U
U
C
C
T
T
I
I
O
O
N
N
T
T
O
O
A
A
N
N
I
I
N
N
C
C
A
A
R
R
N
N
A
A
T
T
I
I
O
O
N
N
divide up, according to Parrinder’s characteristics, any and every published state-
ment attributed to Sathya Sai Baba in which he referred to his avatar persona.
Through this, I at least became familiar with Sathya Sai Baba’s views on avatars
and with some of the most prominent traditional views, as described by Parrinder.
Eventually, however, found it necessary to go beyond Parrinder’s analysis. And
analyses provided by a number of other scholars proved to be similar cases—useful
in some respects, but insufficient for my purposes.
Daniel Bassuk (1987b:97ff.) concludes his study of Indian avatars (he, like Par-
rinder, refers to analogues of this idea in other cultural contexts) by presenting a
list of ‘Criteria for Avatarhood based on Mythemes’—key mythic motifs that recur
in traditional and modern Indian accounts of avatar figures. Indeed, some of these
recall aspects of Parrinder’s characteristics: Firstly, a ‘GOLDEN AURA’ (by which
he means ‘golden imagery’, see below); secondly, ‘THE DIVINE SERPENT’ (see
p.145 below)—tying in with the first mytheme, since ‘one of the roles of the cobra
in ancient Hindu Literature was to guard gold’; next, a ‘PREORDAINED BIRTH’
(cf. Parrinder’s second “characteristic”—see Section 6.2) and a ‘SUFFERING
DEATH’ (a variation upon Parrinder’s fourth characteristic, see p.391 below); tak-
ing a ‘DIVINE NAME’ and acting as a ‘PARENT FIGURE’ (see p.280); having ‘DIS-
CIPLES’ (see p.309 below); possessing ‘SUPERNATURAL POWERS’ (i.e. the “di-
vine” part of Parrinder’s third characteristic, see p.346); and, finally, ‘APOCALYP-
TIC EXPECTATION’ (a consequence of Parrinder’s sixth characteristic, “Avatars are
repeated”—see p.341). I will discuss most of these at above-noted places in the
main body of my study, but I will briefly expand upon one of these by way of ex-
ample here—Bassuk’s first mytheme, attributing a ‘golden aura’ to the avatars.
Bassuk writes:
Matsya the fish Avatar has golden scales, and the man-lion Avatar kills golden-
garment. The golden aura relates the Avatar to his progenitor, Vishnu, the solar,
golden deity, and… may be a reflection of what is stated in the Isa Upanishad, ‘The
door of the True is covered with a golden disk’ (verse 15), and the Avatar’s golden
aura is a reflection of his transcendence… since gold is not part of the colour spec-
trum it appears to emanate from a transcendent source. Among modern Avatars
Chaitanya is known as the golden Avatar, the Mother of Pondicherry encircles her-
self with golden imagery, and Satya Sai Baba wearing golden robes materializes
golden rings.
Here Bassuk’s attribution of ‘golden robes’ to Sathya Sai Baba is somewhat fanci-
ful—he may have very occasionally worn golden robes, but it stretches the imagi-
nation to cast his overwhelmingly favoured orange gowns in this light (cf. p.105
1
1
.
.
3
3
E
E
x
x
p
p
l
l
a
a
i
i
n
n
i
i
n
n
g
g
E
E
m
m
b
b
o
o
d
d
i
i
m
m
e
e
n
n
t
t
6
6
7
7
below). Nevertheless, we will see that there is some truth in Bassuk’s assertion of
linkages of Viṣṇu with the Sun, and that this has echoes in Sathya Sai Baba’s cult
24
.
And I would add to his observations that Kṛṣṇa characteristically wears yellow
robes; that Sathya Sai Baba (as we saw earlier, p.44) produces golden liṅgams that
are symbols of transcendence; and that he is even believed to quite literally have a
golden “aura”—an American devotee writes:
A golden light encircled his head. It was not like the halo seen in artists’ drawings.
The strong golden light—as if one were looking at a sheet of pure gold that was il-
luminated in some fashion or other—came from his scalp, up through the hair, and
extended about 12 inches from his head. The edge of the light was not even, but
was somewhat irregular. When he moved his head, the halo of gold moved with the
head, and this natural movement revealed a second extraordinary situation. Against
the wall, behind Baba’s head, there was a round disk of gold, whose diameter ap-
peared to be somewhat smaller than the halo. This circle of gold was quite even
around its edges, but the truly amazing feature was that it remained quite station-
ary… [when questioned] Baba replied, “It is always there. Anyone can see it at any
time. Only an intensity of interest is required.” [MBI 38,39]
Sathya Sai Baba does not, however, connect this phenomenon with his avatar per-
sona, and golden imagery, whilst certainly present, does not seem to have much of
a definitive role in the literature surrounding other (traditional or modern) avatars.
This, as we will see to be the case with most of Bassuk’s other mythemes, whilst
contributing a few valid and interesting points, fails to really explain very much.
An analysis suggested by Deborah Soifer (1991:8-9), writing on The Myths of
Narasiṁha and Vāmana (two of the major traditional avatars) is a similar case.
She identifies ‘characteristics appearing over and over in …sample readings of the
avatāra myths (which extended beyond Narisiṁha [sic] and Vāmana myths)’:
1. A special relationship with Indra….
2. Invocation of a cosmogonic scenario….
3. Mediating power and activity….
4. Action through trickery….
5. The loophole in the law….
But she herself concludes that these are not borne out by even her own material,
and Aditya Malik (2005:89-90), addressing Soifer’s work, likewise concludes that
these motifs do not characterize the avatar-hero of a folk-tradition upon which he
focuses. Malik does note, however, that they (with the exception of the first) are
evocative of this tradition ‘as a whole’—i.e. when elements other than the avatar-
24
See p.130. NB The passage cited here might also be compared to the ‘prabhāmaṇḍala’ (“circle of
light”), which, according to the Mahābhārata, surrounds Nārāyaṇa (E. Senart 1882,115).