What is, perhaps, the most striking feature of Hindu religious thought, as a whole, is the steadfastness with which survive, even in the epic and in Buddhism, the forms and formulae of the older faith. At a time when pantheism or nihilism is the avowed creed the ancient gods still exist, weak, indeed, yet infused with a true immortality. This is noticeable even more in unnoticeable ways, in the turns of speech, in little comparisons, in the hymns, in short, in the by-play of the epic. 'Withered are the garlands of the gods, and their glory is departed,'[20] but they still receive homage in time of need. And in that homage is to be seen, and from the same cause, the revived or surviving worship of the Veda. Each god in turn is mighty, though Agni is the mightiest of the old divinities. In an epic hymn to him it is said: "Thou art the mouth of the worlds; the poets declare thee to be one and three-fold; as carrier of the sacrifice they arrange thee eight-fold. By thee was all created, say the highest seers. Priests that have made reverence to thee attain the eternal course their acts have won, together with their wives and sons. They call thee the water-giver in the air, together with lightning. On thee first depends water. Thou art the creator and Brihaspati, thou art the two Horsemen, the two Yamas, Mitra, Soma, Wind" (i. 229. 23 ff.).[21] And yet this is in a pantheistic environment! The Rig Veda is directly invoked, though, of course, not directly cited, in the old hymn to the Horsemen, who are, however, elsewhere put with low animals and Guhyakas, demons (i. 66).[22] They are the "physicians of the gods," the "first-born" the golden birds which weave the white and black of time, create the wheel of time with all its seasons, and make the sun and sky (i. 3. 55 ff., "v[=a]gbhir [r.]gbhis"). Indra himself is extolled in Kadr[=u]'s hymn; he is the slayer of Namuci, the lord of Çac[=i]; he is the great cloud, cloud and its thunder, creator and destroyer; he is Vishnu, 'Soma, greatly praised,' as well as fire, air, time in all its divisions, earth and ocean; when lauded he drinks the soma, and he is sung in the Ved[=a]ngas (i. 25. 7 ff.). Praised with this hymn in time of need of rain, Indra "commanded the clouds, saying, 'rain down the ambrosia'" (26. 2); where there is still the rain as synonymous with ambrosia, and Indra not very differently conceived from his Vedic self. Thus in comparisons: "As Indra standing in heaven brings bliss to the world of the living, so Vidura ever brought bliss to the Pandus" (i. 61. 15). But at the same time what changes! The gods assemble and sing a hymn to Garuda, the epic form of Garutman, the heavenly bird, who here steals the soma vainly guarded by the gods. Garuda, too, is Praj[=a]pati, Indra, and so forth.[23] The gods are no longer divinities distinct from the dead Fathers, for they are "identical in being." So Agni says when the latter is cursed by Bhrigu: "The divinities and the Manes are satisfied by the oblation in fire. The hosts of gods are waters, so, too, are the Manes. The feasts of the new and full moon belong to the gods with the Manes; hence the Manes are divinities and the divinities are Manes. They are of one being (ekbh[=u]t[=a]s). I (Fire) am the mouth of both, for both eat the oblation poured upon me. The Manes at the new moon, the gods at the full, are fed by my mouth" (i. 7. 7 ff.).[24] Such gods the epic hero fears not (i. 227. 38 ff.). Hymns to them are paralleled by hymns to snakes, as in i. 3. 134 ff., against whom is made the "sarpasattram (snake sacrifice) of the Pur[=a]nas" (i. 51. 6). Divinity is universal. Knights are as divine as the divinest god, the All-god. Arjuna, the god-born man, to whom Krishna reveals the Divine Song, is himself god.[25] In this case whether god becomes human, or vice versa, no one knows.
Under the all embracing cloak of pantheism the heart of the epic conceals many an ancient rite and superstition. Here is the covenant of blood, the covenant of death (represented by the modern 'sitting'[26]), and the covenant of water, which symbolizes both friendship and the solemnity of the curse. The former are illustrated by Bhima's drinking blood as a sign that he will fulfil his vow,[27] and by R[=a]ma lying by Ocean to die unless Ocean grants his wish. Of the water-rite that of offering water in hospitality and as a form in reception of gifts is general; that of cursing by 'touching water' (v[=a]ry upasp[r.]çya), occurs in iii. 10. 32. For this purpose holy-grass and other symbols are known also,[28] and formulae yield only in potency to love-philters and magic drugs. Another covenant besides those just noticed seems to lie concealed in the avoidance of the door when injury is intended. If one goes in by the door he is a guest who has anticipated hospitality, and then he dares not refuse the respect and offering of water, etc, which makes the formal pact of friendship. If, on the contrary, he does not go in by the door he is not obliged to receive the offering, and may remain as a foe in the house (or in the city) of his enemy, with intent to kill, but without moral wrong. This may be implied in the end of the epic, where Açvatth[=a]man, intent on secret murder of his foe, is prevented by god Çiva from entering in at the gate, but going in by stealth, and 'not by the door' of the camp, gets to his foe, who lies asleep, and kills him (x. 8. 10). This might be thought, indeed, to be merely strategic, but it is in accordance with the strict law of all the law-books that one, in ordinary circumstances, shall avoid to enter a town or a house in any other way than through the door (Manu, iv. 73; Gaut. 9. 32, etc.), and we think it has a moral significance, for this a-dv[=a]ra (non-door) rule occurs again in the epic in just the circumstances we have described. The heroes in this case are not afraid of their foe, who is in his town. They insult every one as they approach, but they find some other way of getting in than by passing through the gate, for the express purpose of being morally able to make the king fight with them after they have entered his city. And they cite the rule 'according to law,' which is that one may enter his foe's house by a-dv[=a]ra, 'not by door,' but his friend's house only 'by door.' As they have not entered 'by door' they say they may refuse the hospitality which the king urges them to accept, and so they kill him (ii. 21. 14, 53). Stepping in through the door seems, therefore, to be a tacit agreement that one will not injure the resident.[29]
In the epic, again, fetishism is found. The student of the 'science of war,' in order to obtain his teacher's knowledge when the latter is away, makes a clay image of the preceptor and worships this clay idol, practicing arms before it (i. 132. 33). Here too is embalmed the belief that man's life may be bound up with that of some inanimate thing, and the man perishes with the destruction of his psychic prototype (iii. 135). The old ordeals of fire and water are recognized. "Fire does not burn the house of good men." "If (as this man asserts) he is Varuna's son, then let him enter water and let us see if he will drown" (iii. 134. 27 ff.). A human sacrifice is performed (iii. 127); although the priest who performs it is cast into hell (ib. 128).[30] The teaching in regard to hells is about the same with that already explained in connection with the law-books, but the more definite physical interpretation of hell as a hole in the ground (garta, just as in the Rig Veda) is retained. Agastya sees his ancestors 'in a hole,' which they call 'a hell' (n[=i]ray[=a]). This is evidently the hell known to the law-punsters and epic (i. 74. 39) as puttra, 'the put hell' from which the son (putra) delivers (tra). For these ancestors are in the 'hole' because Agastya, their descendant, has not done his duty and begotten sons (i. 45. 13; iii. 96. 15); one son being 'no son' according to law and epic (i. 100. 68), and all the merit of sacrifice being equal to only one-sixteenth of that obtained by having a son. The teaching, again, in regard to the Fathers themselves (the Manes), while not differing materially from the older view, offers novelties which show how little the absorption-theory had taken hold of the religious consciousness. The very fact that the son is still considered to be as necessary as ever (that he may offer food to his ancestors) shows that the believer, whatever his professed faith, expects to depend for bliss hereafter upon his post mortem meals, as much as did his fathers upon theirs. In the matter of the burial of the dead, one finds, what is antique, that although according to the formal law only infants are buried, and adults are burned, yet was burial known, as in the Vedic age. And the still older exposure of the body, after the Iranian fashion, is not only hinted at as occurring here and there even before the epic, but in the epic these forms are all recognized as equally approved: "When a man dies he is burned or buried or exposed" (nik[r.][s.]yate)[31] it is said in i. 90. 17; and the narrator goes on to explain that the "hell on earth," of which the auditor "has never heard" (vs. 6) is re-birth in low bodies, speaking of it as a new doctrine. "As if in a dream remaining conscious the spirit enters another form"; the bad becoming insects and worms; the good going to heaven by means of the "seven gates," viz., penance, liberality, quietism, self-control, modesty, rectitude, and mercy. This is a union of two views, and it is evidently the popular view, that, namely, the good go to heaven while the bad go to new existence in a low form, as opposed to the more logical conception that both alike enter new forms, one good, the other bad. Then the established stadia, the pupil, the old teaching (upanishad) of the householders, and the wood-dwellers are described, with the remark that there is no uniformity of opinion in regard to them; but the ancient view crops out again in the statement that one who dies as a forest-hermit "establishes in bliss" ten ancestors and ten descendants. In this part of the epic the Punj[=a]b is still near the theatre of events, the 'centre region' being between the Ganges and Jumna (I. 87. 5); although the later additions to the poems show acquaintance with all countries, known and unknown, and with peoples from all the world. Significant in xii. 61. 1, 2 is the name of the third order bh[=a]ikshyacaryam 'beggarhood' (before the forest-hermit and after the householder).
It was said above that the departed Fathers could assume a mortal form. In the formal classification of these demigods seven kinds of Manes are enumerated, the title of one subdivision being 'those embodied.' Brahm[=a] is identified with the Father-god in connection with the Manes: "All the Manes worship Praj[=a]pati Brahm[=a]," in the paradise of Praj[=a]pati, where, by the way, are Çiva and Vishnu (II. 11. 45, 50, 52; 8. 30). According to this description 'kings and sinners,' together with the Manes, are found in Yama's home, as well as "those that die at the solstice" (II. 7 ff.; 8. 31). Constantly the reader is impressed with the fact that the characters of the epic are acting and thinking in a way not conformable to the idea one might form of the Hindu from the law. We have animadverted upon this point elsewhere in connection with another matter. It is this factor that makes the study of the epic so invaluable as an offset to the verisimilitude of belief, even as belief is taught (not practiced) in the law. There is a very old rule, for instance, against slaughtering animals and eating meat; while to eat beef is a monstrous crime. Yet is it plain from the epic that meat-eating was customary, and Vedic texts are cited ( iti çrutis) to prove that this is permissible; while a king is extolled for slaughtering cattle (III. 208. 6-11). It is said out and out in iii. 313. 86 that 'beef is food,' g[=a]ur annam. Deer are constantly eaten. There is an amusing protest against this practice, which was felt to be irreconcilable with the ahims[=a] (non-injury) doctrine, in III. 258, where the remnant of deer left in the forest come in a vision and beg to be spared. A dispute between gods and seers over vegetable sacrifices is recorded, XII. 338. Again, asceticism is not the duty of a warrior, but the epic hero practices asceticism exactly as if he were a priest, or a Jain, although the warning is given that a warrior 'obtains a better lot' (loka) by dying in battle than by asceticism. The asceticism is, of course, exaggerated, but an instance or two of what the Hindu expects in this regard may not be without interest. The warrior who becomes an ascetic eats leaves, and is clothed in grass. For one month he eats fruits every third day (night); for another month every sixth day; for another month every fortnight; and for the fourth month he lives on air, standing on tiptoe with arms stretched up. Another account says that the knight eats fruit for one month; water for one month; and for the third month, nothing (III. 33. 73; 38. 22-26; 167). One may compare with these ascetic practices, which are not so exaggerated, in fact, as might be supposed,[32] the 'one-leg' practice of virtue, consisting in standing on one leg, ekap[=a]dena, for six months or longer, as one is able (I. 170. 46; III. 12. 13-16). Since learning the Vedas is a tiresome task, and ascetic practice makes it possible to acquire anything, one is not surprised to find that a devotee undertakes penance with this in view, and is only surprised when Indra, who, to be sure has a personal interest in the Vedas, breaks in on the scene and rebukes the ascetic with the words: "Asceticism cannot teach the Vedas; go and be tutored by a teacher" (III. 135. 22).
One finds in the epic the old belief that the stars are the souls of the departed,[33] and this occurs so often that it is another sign of the comparative newness of the pantheistic doctrine. When the hero, Arjuna, goes to heaven he approaches the stars, "which seen from earth look small on account of their distance," and finds them to be self-luminous refulgent saints, royal seers, and heroes slain in battle, some of them also being nymphs and celestial singers. All of this is in contradiction both to the older and to the newer systems of eschatology; but it is an ancient belief, and therefore it is preserved. Indra's heaven,[34] Amar[=a]vati, lies above these stars[35] No less than five distinct beliefs are thus enunciated in regard to the fate of 'good men after death. If they believe in the All-god they unite with him at once. Or they have a higher course, becoming gradually more elevated, as gods, etc, and ultimately 'enter' the All-god. Again they go to the world of Brahm[=a]. Again they go to Indra's heaven. Again they become stars. The two last beliefs are the oldest, the brahmaloka belief is the next in order of time, and the first-mentioned are the latest to be adopted. The hero of the epic just walks up to heaven, but his case is exceptional.
While angels and spirits swarm about the world in every shape from mischievous or helpful fairies to R[=a]hu, whose head still swallows the sun, causing eclipses (I. 19. 9), there are a few that are especially conspicuous. Chief of the good spirits, attendants of Indra, are the Siddhas[36] 'saints,' who occasionally appear to bless a hero in conjunction with 'beings invisible' (III. 37. 21). Their name means literally 'blessed' or 'successful,' and probably, like the seers, Rishis, they are the departed fathers in spiritual form. These latter form various classes. There are not only the 'great seers,' and the still greater 'brahma-seers,' and the 'god-seers,' but there are even 'devil-seers,' and 'king-seers,' these being spirits of priests of royal lineages.[37] The evil spirits, like the gods, are sometimes grouped in threes. In a blessing one cries out: "Farewell (svasti gacchahy an[=a]mayam); I entreat the Vasus, Rudras, [=A]dityas, Marut-hosts and the All-gods to protect thee, together with the S[=a]dhyas; safety be to thee from all the evil beings that live in air, earth, and heaven, and from all others that dog thy path."[38] In XII. 166. 61 ff. the devils fall to earth, mountains, water, and other places. According to I. 19. 29. it is not long since the Asuras were driven to take refuge in earth and salt water.[39]
These creatures have every kind of miraculous power, whether they be good or bad. Hanuman, famed in both epics, the divine monkey, with whom is associated the divine 'king of bears' J[=a]mbavan (III. 280. 23), can grow greater than mortal eye can see (III. 150. 9). He is still worshipped as a great god in South India. As an illustration of epic spiritism the case of Ilvala may be taken. This devil, d[=a]iteya, had a trick of cooking his embodied younger brother, and giving him to saints to eat. One saint, supposing the flesh to be mutton (here is saintly meat-eating!), devours the dainty viand; upon which the devil 'calls' his brother, who is obliged to come, whether eaten or not, and in coming bursts the saint that has eaten him (iii. 96). This is folk-lore; but what religion does not folk-lore contain! So, personified Fate holds its own as an inscrutable power, mightier than others.[40] There is another touch of primitive religious feeling which reminds one of the usage in Iceland, where, if a stranger knocks at the door and the one within asks 'who is there?' the guest answers, 'God.' So in the epic it is said that 'every guest is god Indra' (Parjanyo nn[=a]nusa[.m]caran, iii. 200. 123. In the epic Parjanya, the rain-god, and Indra are the same). Of popular old tales of religious bearing may be mentioned the retention and elaboration of the Brahmanic deluge-story, with Manu as Noah (iii. 187); the Açvins' feats in rejuvenating (iii. 123); the combats of the gods with the demons (Namuci, Çambara, Vala, Vritra, Prahl[=a]da, Naraka), etc. (iii. 168).
Turning now to some of the newer traits in the epic, one notices first that, while the old sacrifices still obtain, especially the horse-sacrifice, the r[=a]jas[=u]ya and the less meritorious v[=a]japeya, together with the monthly and seasonal sacrifices, there is in practice a leaning rather to new sacrifices, and a new cult. The soma is scarce, and the p[=u]tika plant is accepted as its substitute (iii. 35. 33) in a matter-of-course way, as if this substitution, permitted of old by law, were now common. The sacrifice of the widow is recognized, in the case of the wives of kings, as a means of obtaining bliss for a woman,[41] for the religion of the epic is not entirely careless of woman. Somewhat new, however, is the self-immolation of a man upon the pyre of his son. Such a case is recorded in iii. 137. 19. where a father burns his son's body, and then himself enters the fire. New also, of course, are the sectarian festivals and sacrifices; and pronounced is the gain in the godhead of priests, king, parents, elder brother, and husband. The priest has long been regarded as a god, but in the epic he is god of gods, although one can trace even here a growth in adulation.[42] The king, too, has been identified before this period with the gods. But in the epic he is to his people an absolute divinity,[43] and so are the parents to the son;[44] while, since the elder brother is the same with a father, when the father is dead the younger brother worships the elder. So also the wife's god is her husband; for higher even than that of the priest is the husband's divinity (III. 206). The wife's religious service is not concerned with feasts to the Manes, with sacrifice to the gods, nor with studying the Veda. In all these she has no part. Her religion is to serve her husband (III. 205. 23), and to die, if worthy of the honor, on his funeral pyre. Otherwise the epic woman has religious practices only in visiting the holy watering-places, which now abound, and in reading the epic itself. For it is said of both practices: "Whether man or woman read this book (or 'visit this holy pool') he or she is freed from sin" (so in III. 82. 33: "Every sin committed since birth by man or woman is absolved by bathing in 'holy Pushkara"). It may be remarked that as a general thing the deities invoked by women are, by predilection, female divinities, some of them being mere abstractions, while 'the Creator' is often the only god in the woman's list, except, of course, the priests: "Reverence to priests, and to the Creator … May Hr[=i], Çr[=i] (Modesty and Beauty), Fame, Glory, Prosperity, Um[=a] (Çiva's wife), Lakshmi (Vishnu's wife), and also Sarasvat[=i], (may all these female divinities) guard thy path, because thou reverest thy elder brother," is a woman's prayer (III. 37. 26-33).[45]
Of the sectarian cults just mentioned the brahmamaha, I. 164. 20, elsewhere referred to, is the all-caste[46] feast in honor of Brahm[=a] (or of the Brahmans); as ib. 143. 3 one finds a sam[=a]ja in honor of Çiva; and distinctly in honor of the same god of horror is the sacrifice, i.e., immolation, of one hundred kings, who are collected "in the temple of Çiva," to be slaughtered like cattle in M[=a]gadha (II. 15. 23); an act which the heroes of the epic prevent, and look upon with scorn.[47] As a substitute for the r[=a]jas[=u]ya, which may be connected with the human sacrifice (Ind. Streifen, I. 61), but is the best sacrifice because it has the best largesse (III. 255. 12), the Vaishnava is suggested to Duryodhana. It is a great sattram or long sacrifice to Vishnu (ib. 15 and 19); longer than a Vishnuprabodha (26 Oct.). There is a Smriti rite described in III. 198. 13 as a svastiv[=a]canam, a ceremony to obtain a heavenly chariot which brings prosperity, the priests being invoked for blessings (svasti). Quite modern, comparatively speaking, is the cult of holy pools; but it is to be observed that the blessings expected are rarely more than the acquirement of brahma-worlds, so that the institution seems to be at least older than the sectarian religions, although naturally among the holy pools is intruded a Vishnu-pool. This religious rite cannot be passed over in silence. The custom is late Brahmanic (as above), and still survives. It has been an aspect of Hindu religion for centuries, not only in the view taken of the pools, but even occasionally in the place itself. Thus the Ganges, Gay[=a], Pray[=a]ga, and Kuru-Plain are to-day most holy, and they are mentioned as among the holiest in the epic catalogue.[48] Soma is now revamped by a bath in a holy pool (IX. 35. 75). As in every antithesis of act and thought there are not lacking passages in the epic which decry the pools in comparison with holy life as a means of salvation. Thus in III. 82. 9 ff., the poet says: "The fruit of pilgrimage (to holy pools)—he whose hands, feet, and mind are controlled;[49] he who has knowledge, asceticism, and fame, he gets all the fruit that holy pools can give. If one is averse from receiving gifts, content, freed from egoism, if one injures not, and acts disinterestedly, if one is not gluttonous, or carnal-minded, he is freed from sin. Let one (not bathe in pools but) be without wrath, truthful, firm in his vows, seeing his self in all beings." This is, however, a protest little heeded.[50] Pilgrimage is made to pool and plain, to mountain, tree, and river. Even then, as now, of all pilgrimages that to Ganges was most esteemed: "Originally all were holy; in the second age Pushkara[51] was holy; in the third age the Plain of the Kurus was holy; and in this age Ganges is holy" (III. 85. 90).[52] Besides Ganges, the Plain of the Kurus and Pray[=a]ga, the junction of Ganges and Jumna, get the highest laudation. Other rivers, such as the Gomal and Sarasvat[=i], are also extolled, and the list is very long of places which to see or to bathe in releases from sin. "He who bathes in Ganges purifies seven descendants.[53] As long as the bones of a man touch Ganges-water so long that man is magnified in heaven." Again: "No place of pilgrimage is better than Ganges; no god is better than Vishnu; nothing is better than brahma—so said the sire of the gods" (iii. 85. 94-96). The very dust of Kuru-Plain makes one holy, the sight of it purifies; he that lives south of the Sarasvat[=i], north of the Drishadvat[=i] (i.e., in Kuru-Plain), he lives in the third heaven (iii. 83. 1-3=203-205[54]). This sort of expiation for sin is implied in a more general way by the remark that there are three kinds of purity, one of speech, one of act, and one of water (iii. 200. 82). But in the epic there is still another means of expiating sin, one that is indicated in the Brahmanic rule that if a woman is an adulteress she destroys half her sin by confessing it (as above), where, however, repentance is rather implied than commanded. But in the epic Pur[=a]na it is distinctly stated as a Çruti, or trite saying, that if one repents he is freed from his sin; na tat kury[=a]m punar is the formula he must use, 'I will not do so again,' and then he is released from even the sin that he is going to commit a second time, as if by a ceremony—so is the Çruti in the laws, dharmas (iii. 207. 51, 52).[55] Confession to the family priest is enjoined, in xii. 268. 14, to escape punishment.
Two other religious practices in the epic are noteworthy. The first is the extension of idolatry in pictures. The amiable 'goddess of the house' is represented, to be sure, as a R[=a]kshas[=i], or demoniac power, whose name is Jar[=a]. But she was created by the Self-existent, and is really very friendly, under certain conditions: "Whoever delineates me with faith in his house, he increases in children; otherwise he would be destroyed." She is worshipped, i.e., her painted image is worshipped, with perfumes, flowers, incense, food, and other enjoyable things (II. 18).[56] Another practice that is very common is the worship of holy trees. One may compare the banyan at Bodhi Gay[=a] with the 'worshipful' village-tree of II. 24. 23. Seldom and late is the use of a rosary mentioned (e.g., III. 112. 5, aksham[=a]l[=a], elsewhere aksha), although the word is employed to make an epithet of Çiva, Aksham[=a]lin.[57]