"Then Daksha, frightened, alarmed, and agitated, his eyes suffused with tears, raised his hands reverentially to his brow, and said, 'If, lord, thou art pleased; if I have found favour in thy sight; if I am to be the object of thy benevolence; if thou wilt confer upon me a boon, this is the blessing I solicit, that all these provisions for the solemn sacrifice, which have been collected with much trouble and during a long time, and which have now been eaten, drunk, devoured, burnt, broken, scattered abroad, may not have been prepared in vain.' 'So let it be,' replied Hara, the subduer of Indra. And thereupon Daksha knelt down upon the earth, and praised gratefully the author of righteousness, the three-eyed god Mahádeva, repeating the eight thousand names of the deity whose emblem is a bull."

Footnotes

61:1 The sacrifice of Daksha is a legend of some interest, from its historical and archeological relations. It is obviously intended to intimate a struggle between the worshippers of Śiva and of Vishńu, in which at first the latter, but finally the former, acquired the ascendancy. It is also a favourite subject of Hindu sculpture, at least with the Hindus of the Śaiva division, and makes a conspicuous figure both at Elephanta and Ellora. A representation of the dispersion and mutilation of the gods and sages by Vírabhadra, at the former, is published in the Archæologia, VII. 326, where it is described as the Judgment of Solomon! a figure of Vírabhadra is given by Niebuhr, vol. II. tab. 10: and the entire group in the Bombay Transactions, vol. I. p. 220. It is described, p. 229; but Mr. Erskine has not verified the subject, although it cannot admit of doubt. The groupe described, p. 224, probably represents the introductory details given in our text. Of the Ellora sculptures, a striking one occurs in what Sir C. Malet calls the Doomar Leyna cave, where is "Veer Budder, with eight hands. In one is suspended the slain Rajah Dutz." A. R. VI. 396. And there is also a representation of 'Ehr Budr,' in one of the colonades of Kailas; being, in fact, the same figure as that at Elephanta. Bombay Tr. III. 287. The legend of Daksha therefore was popular when those cavern temples were excavated. The story is told in much more detail in several other Puráńas, and with some variations, which will be noticed: but the above has been selected as a specimen of the style of the Váyu Puráńa, and as being a narration which, from its inartificial, obscure, tautological, and uncircumstantial construction, is probably of an ancient date. The same legend, in the same words, is given in the Bráhma P.