48 The present passage, which I have loosely termed a "saga," is an excellent example of the kind of literary myth to which I have been referring. In essence, it is a complex of a number of mythical elements which date back to the Vedic period and various elements of sectarian Hindu myth. The basic situation is the ongoing struggle for rulership of the universe between the Devas, the gods of the Vedic pantheon, and the Asuras (Daityas, Danavas), the "demons" of Vedic and classical myth. This is a motif which has its origins in the Samhita or pre-Sam'hita period (Indo-lranian, Indo-European) and becomes a stock myth or setting for other myths in the Brahmana epic, and Puranaliterature." It is here presented in connection with one of its old associated motifs,the assistance and desertion of the potent and mysterious figure of Usanas Kavya, or Sukra, perhaps the most extraordinary of the extraordinary sages of the Bhargava clan.^ These events are here connected with Vaisnava myth in a rather unorthodox fashion and with the devotional traditions of Saivism. 1 have discussed the problems of this mythic pastiche along with the whole issue of the important sub-mythology of the Bhargavas, of which this is but one example, elsewhere. I am concerned here mainly with the translation itself, with a direct look at the peculiarities of the episode which entitle it to consideration from a literary standpoint. In reading through the Matsya passage, the sheer liveliness of the narrative is apparent. The myth is all but subordinated to the spirited and often amusing dialogues between Sukra and his emotional demons, between the great sage and the flirtatious daughter of Indra, or between the outrageously hypocritical Asuras, pretending to be inoffensive hermits, and the incredibly gullible gods. In many ways the whole saga, for all that it purports to deal with such profound issues as the incarnations of Visnu and the favor of the mighty ^iva, takes on the aspect of a sort of farce. In accord with this prevailing mood, basic mythical relationships are altered. Thus, in order to play upon the pitiful laments of the Asuras and the softheartedness of Kavya, the redactor has the sage not only abandon his charges, in agreement with the Brahmana versions, but has him return to them; and this cycle is repeated twice in the episode. The older motif of abandonment leading to defeat is also present in its non-literary guise in the concluding episode of Sanda and Marka. This is likewise taken from the Br^hmana literature. The style and tone of this episode contrasts sharply with the full characterization given in the passages involving Sukra. In the same way, the old association of Indra and his "younger brother," Visnu, as the joint doers of valorous deeds is almost brought to the level of low comedy here in their clumsy and near-disastrous encounter with Kavya^ mother and her husband, Bhrgu. One is put forcefully in mind of the slapstick comedians in Visn^s botched attempt