Dear Péter, Thank you very much for your valuable references. I am looking for a translation of the Southern Recension of the Mahābhārata, if any. In the meantime, with the kind help of Simon Broadbeck and McComas Taylor, I have looked at the content of the critical editions of the Harivamśa and the Viṣṇu Purāna. They do not have any mention of the dances by Kṛṣṇa, Viṣṇu, Indrāṇi, and Manmatha in connection with Bāṇāsura. I am assuming that the critical edition of the Mahābhārata does not have them either since you mention only the Southern Recension.
This leads to a number of interesting questions. Thennilapuram P. Mahadevan in his article, 'On the Southern Recension of the Mahābhārata, Brahman Migrations, and Brāhmī Paleography,’ discusses the Southern Recension’s Malayalam version (SRM) and its alignment with the Śārada version of the Northern Recension. The date of the Cilappatikāram was close to that of the date of SRM being moved into Kerala by pūrvaśikha Brahmans discussed by T. P. Mahadevan. The location of Iḷaṅkō Aṭikaḷ, the author of the Cilappatikāram, was also close to that of SRM postulated by Mahadevan. But, the Cilappatikāram mentions the four dances performed in Bāṇa’s city, which are not mentioned in any Sanskrit text produced in the north, especially before about fifth century CE. Does this mean stories related to Mahābhārata and Kṛṣṇa were transmitted from north India to the Tamil country through non-Brahman traditions even before the Brahman migrations discussed by Mahadevan? Does this also mean that among the stories that were circulating in north India, only whatever were preferred by Brahmans became part of the previleged literary texts, the rest being lost or relegated to folk traditions? So, does the Cilappatikāram give us a view into some of the lost traditions of north India? Or does it represent creative innovations in the Tamil south as in the case of Kṛṣṇa defeating the seven bulls to marry Satya in the later Bhāgavata Purāṇa as discussed by F. Hardy in his Viraha Bhakti? Interestingly, an interesting narration in the opposite direction is seen in the Mahābhārata. In describing Damayantī’s search for Nala mentions her approaching an aśoka, the Mahābhārata has her say, “Āh, woe on me, here stands this beautiful tree in the deep of the forest, shining with its many chaplets of blossoms, like the illustrious king of Dramiḍa.” I do not know which Tamil king is being referred to in this narrative. Thanks in advance for any comments Regards, Palaniappan > On Aug 19, 2021, at 12:15 AM, Péter Száler <[email protected]> wrote: > > Dear Palaniappan, > > Apart from the Harivaṃśa, the Southern recension of the Mahābhārata and many > purāṇas relate the story of Bāṇāsura. The Mahābhārata > (2.35.29.d*21.1448–1534), the Bhāgavata– (10.62.1–63.53), the Brahma– > (205.9–206.50), and the Viṣṇu–purāṇa (5.32.6–33.50) share more or less the > similar storyline with the Harivaṃśa, while the version of the Kūrma–purāṇa > (1.17.1–7) differs a bit more from the others. Bāṇa also appears in the > Kālikā–purāṇa, in the story of Naraka. In this purāṇa, it is he, who taught > the worship of Śiva to Naraka (Kālikā–purāṇa 39.1–8). > In connection with Bāṇa’s dance, I offer to read Phyllis Granoff’s article, > entitled Mahākāla’s Journey: From Gaṇa to God. > https://www.jstor.org/stable/41913237 <https://www.jstor.org/stable/41913237> > > Kind regards, > Péter Száler > > Simon Brodbeck via INDOLOGY <[email protected] > <mailto:[email protected]>> ezt írta (időpont: 2021. aug. 19., Cs, > 0:37): > Dear Palaniappan, > > Harivamsha chapters 106--113 (critical edition) narrates the story of > Krishna's family's conflict with Bana. At the end of chapter 112 Bana, his > extra arms having been severed by Krishna's discus, dances at Nandin's > instigation in order to receive successive boons from Shiva. The critical > apparatus is particularly rich in these chapters, so it is worth looking to > see whether any more dancing is mentioned there. > > All the best, from Simon Brodbeck. > > From: INDOLOGY <[email protected] > <mailto:[email protected]>> on behalf of Sudalaimuthu > Palaniappan via INDOLOGY <[email protected] > <mailto:[email protected]>> > Sent: 18 August 2021 23:04 > To: Indology List <[email protected] > <mailto:[email protected]>> > Subject: [INDOLOGY] Bāṇāsura stories > > External email to Cardiff University - Take care when replying/opening > attachments or links. > Nid ebost mewnol o Brifysgol Caerdydd yw hwn - Cymerwch ofal wrth ateb/agor > atodiadau neu ddolenni. > > > Dear Indologists, > > In the Cilappatikāram, the Tamil epic often dated ca. 5th century CE, the > courtesan Mātavi performs 11 dances possibly based on puranic themes. Of > these 11, four deal with dances performed by Kṛṣṇa, Viṣṇu, Indrāṇi, and > Manmatha as part of their conflict with Bāṇāsura. I would appreciate any > references to the story of Bāṇa in Sanskrit sources. Do these Sanskrit > sources mention any such dances? Also, how does the Sanskrit tradition > explain the kingship of Bāṇa in light of Vāmana sending Bali to the > netherworld? > > Thank you in advance. > > Regards, > Palaniappan > > > _______________________________________________ > INDOLOGY mailing list > [email protected] <mailto:[email protected]> > https://list.indology.info/mailman/listinfo/indology > <https://list.indology.info/mailman/listinfo/indology>
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