Brāhmaṇas in which Vishṇu appears in the form of a dwarf as an artifice to recover the earth, now in the possession of demons, by taking his three strides. His character for benevolence was in post-Vedic mythology developed in the doctrine of the Avatārs ("descents" to earth) or incarnations which he assumed for the good of humanity.
Ushas, goddess of dawn, is almost the only female deity to whom entire hymns are addressed, and the only one invoked with any frequency. She, however, is celebrated in some twenty hymns. The name, meaning the "Shining One," is cognate to the Latin Aurora and the Greek Ēōs. When the goddess is addressed, the physical phenomenon of dawn is never absent from the poet's mind. The fondness with which the thoughts of these priestly singers turned to her alone among the goddesses, though she received no share in the offering of soma like the other gods, seems to show that the glories of the dawn, more splendid in Northern India than those we are wont to see, deeply impressed the minds of these early poets. In any case, she is their most graceful creation, the charm of which is unsurpassed in the descriptive religious lyrics of any other literature. Here there are no priestly subtleties to obscure the brightness of her form, and few allusions to the sacrifice to mar the natural beauty of the imagery.
To enable the reader to estimate the merit of this poetry I will string together some utterances about the Dawn goddess, culled from various hymns, and expressed as nearly as possible in the words of their composers. Ushas is a radiant maiden, born in the sky, daughter of Dyaus. She is the bright sister of
