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Mythical elements in the world literature are found variegated giving the picture of the ancient society and its customs. No doubt the myths have different origins following the geographical and sociological set up of human life. Of course, many scholars have given their own classifications of myths. In this regard one of the western scholars called G.S. Kirk has classified the myths into following groups : i] Primarily-narrative and entertaining which include patriotic myths. ii] Operative, literative myths. iii] Speculative and explanatory myths. The myths dealing with names of places, the course of the Sun, the Moon etc., form the first group. The second type of myths include the accounts of geneology describing the origin of the divinities and the last type of myths include the myths regarding the creation about the sacred places about the life after death.¹ 1. G.S. Kirk, Myth-Its Meaning and Functions in Ancient and other Cultures Cambridge University, Press, 1970.

12 Similarly another western scholar Joseph Cambell offers a classification of myths into four groups, such as: i) mystical myths, ii) cosmological myths, iii) Sociological myths and iv) pedeological myths, which of each how best the life can be led.² However, such classifications are very general and overlapping. 2 Besides a survey of all source materials of myths through bird's eye view, makes it clear that the myths of Hindu tradition have the characteristic features describing world-creation, exploits of the persons of various families, trees, mountains, rivers and the gods as well. Considering in due manner, all their characteristic features, the myths may be classified into various groups as mentioned in the chart below. Hindu Myths MYTHS Non-Hindu Myths Vedic Non Vedic 1) Myths in the Vedas 2) Myths in the Brahmanas 3) Myths in the Upanisads 1) Buddhistic myths 2) Jaina myths 1. Greek Myths 2. Islamic Myths 3. Christian Myths 4) Myths in the Puranas 2. Ref.: S.A. Dange, Towards Understanding Hindu Myths, Aryan Books International, New Delhi, 1996. p. xxix.

13 Every Hindu myth is different, all Hindu myths are alike. Inspite of the deep seated totally compelling world view that moulds every image and symbol, every word and idea of any Hindu myth, inspite of the stress placed upon traditional form of the expense of the individual artist. Each myth celebrates the belief that the universe is boundlessly various, that everything occurs simultaneously, that all possibilities may exist excluding each other. This concept is consciously expressed in at least one myth, the creatures that the lord created, were harmful' or benign, gentle or cruel, full of dharma and adharma. And when they are created again, they will have their qualities and this pleased him. The lord, creator himself, diversified the variety and differentiation of all the objects of the senses, properties and forms. The pattern of Hindu mythology has emerged and reasserted itself. The more myths one encounters, the more the basic themes seem to be reinforced; no matter what direction one sets out in, one is drawn back again and again to this centre of gravity, the still centre, the eye of the storm. The content of this pattern is merely another aspect of the form out of which it emerges, the tension between variety and pattern; the resolution of chaos, into order and its dissolution back into chaos. The reader will note that most of the myths in this collection are about birth or death, usually about both; this preponderance does not merely reflected the taste of the translator, nor the peculiarities of Hinduism, but is basic to the concerns of mythology everywhere.

14 The archetypal pattern presented in the mythopoeic mode of expression of the Veda is dramatised in the act of ritual in the Brahmanas. The myth and the ritual are both symbolic; both allude to a total vision. A mythical image as well as a ritual is to be seen a part of a total pattern of significance or meaning. Just as myth "is not merely a story told, but a reality lived". So the ritual also symbolizes the lived human experience as if symbolizes the "Creative Synchronization" between an organism and the rhythms of its environment. Myth and ritual both embody the cosmic rhythm. The Rgveda is the earliest literary monument in the history of mankind. The poetry of the Rgveda is mythical in nature and its knowledge is symbolic. It has a systematic affinity with sloka (a stanza or verse in general) as both are derived from roots Varch and Vsloka that have the same meaning i.e. to extol, to eulogize that is to raise by words an object to an extra-ordinary level where it loses its ordinary meaning and symbolizes a higher unearthly experience of a poet or seer (Rsi, Kavi, Krantadarsi). The Veda is known as 'divinely inspired'. The word Veda is poetic, symbolic and mythical. A mythical symbol is suggestive of certain basic, eternal and universal concept. The mythical symbols employed in the Rgvedic poetry have been adopted by all the other Samhitas, Brahmanas, Aranyakas, Upanisads and later by the Mahabharata and the Puranas. Indra and Varuna are two important mythical characters, who symbolize the archetype of complementary dualism at various levels of meaning

15 through the various descriptions of varied nature. Such myths are spread here and there in the Vedic texts. Those myths may be read in the succeeding pages. The Brahmanas throw considerable light on the characteristics of the various deities. They do not seem to have been studied so far on account of their enigmatic and terse nature. It must be pointed out however, at the outset, that one cannot come across here the descriptions of the deities such as enumerated in the Rk-samhita. The context of the ritual connected with the deities and their repeated epithets will help us a good deal in shaping and comprehending clearly and definitely the nature and characteristics of the divinities. The Brahmanas will be of great use and guidance in deciphering the complicated nature of the divinities.