Rigveda

Dating

According to Jamison and Brereton, in their 2014 translation of the Rigveda, the dating of this text "has been and is likely to remain a matter of contention and reconsideration". The dating proposals so far are all inferred from the style and the content within the hymns themselves.^[26] Philological estimates tend to date the bulk of the text to the second half of the second millennium BCE.^{[note 1]} Being composed in an early Indo-Aryan language, the hymns must post-date the Indo-Iranian separation, dated to roughly 2000 BCE.^[27] A reasonable date close to that of the composition of the core of the Rigveda is that of the Mitanni documents of northern Syria and Iraq (c. 1450–1350 BCE), which also mention the Vedic gods such as Varuna, Mitra and Indra.^[28][29] Some scholars have suggested that the Rig Veda was composed on the banks of a river in Haraxvaiti province in southern Afghanistan (Persian: Harahvati; Sanskrit: Sarasvati; possibly the Helmand or Arghandab).^[30][31] Other evidence also points to a composition date close to 1400 BCE.^[32][33] The earliest texts were composed in the northwestern regions of the Indian subcontinent, and the more philosophical later texts were most likely composed in or around the region that is the modern era state of Haryana.^[34]

The Rigveda's core is accepted to date to the late Bronze Age, making it one of the few examples with an unbroken tradition. Its composition is usually dated to roughly between c. 1500 and 1000 BCE.^{[note 1]} According to Michael Witzel, the codification of the Rigveda took place at the end of the Rigvedic period between c. 1200 and 1000 BCE, in the early Kuru kingdom.^[14] Asko Parpola argues that the Rigveda was systematized around 1000 BCE, at the time of the Kuru kingdom.^[35]

Historical and societal context

The Rigveda is far more archaic than any other Indo-Aryan text. For this reason, it was in the center of attention of Western scholarship from the times of Max Müller and Rudolf Roth onwards. The Rigveda records an early stage of Vedic religion. There are strong linguistic and cultural similarities with the early Iranian Avesta,^[36][37] deriving from the Proto-Indo-Iranian times,^[38] often associated with the early Andronovo culture of c. 2000 BCE.^[39]

The Rigveda offers no direct evidence of social or political systems in the Vedic era, whether ordinary or elite.^[40] Only hints such as cattle raising and horse racing are discernible, and the text offers very general ideas about the ancient Indian society. There is no evidence, state Jamison and Brereton, of any elaborate, pervasive or structured caste system.^[40] Social stratification seems embryonic, then and later a social ideal rather than a social reality.^[40] The society was semi-nomadic and pastoral with evidence of agriculture since hymns mention plow and celebrate agricultural divinities.^[41] There was division of labor and a complementary relationship between kings and poet-priests but no discussion of a relative status of social classes.^[40] Women in the Rigveda appear disproportionately as speakers in dialogue hymns, both as mythical or divine Indrani, Apsaras Urvasi, or Yami, as well as Apāla Ātreyī (RV 8.91), Godhā (RV 10.134.6), Ghoṣā Kākṣīvatī (RV 10.39.40), Romaśā (RV 1.126.7), Lopāmudrā (RV 1.179.1–2), Viśvavārā Ātreyī (RV 5.28), Śacī Paulomī (RV 10.159), Śaśvatī Āṅgirasī (RV 8.1.34). The women of the Rigveda are quite outspoken and appear more sexually confident than men, in the text.^[40] Elaborate and aesthetic hymns on wedding suggest rites of passage had developed during the Rigvedic period.^[40] There is little evidence of dowry and no evidence of sati in it or related Vedic texts.^[42]

The Rigvedic hymns mention rice and porridge, in hymns such as 8.83, 8.70, 8.77 and 1.61 in some versions of the text;^[43] however, there is no discussion of rice cultivation.^[41] The term áyas (metal) occurs in the Rigveda, but it is unclear which metal it was.^[44] Iron is not mentioned in Rigveda, something scholars have used to help date Rigveda to have been composed before 1000 BCE.^[34] Hymn 5.63 mentions "metal cloaked in gold", suggesting that metalworking had progressed in the Vedic culture.^[45]

Some of the names of gods and goddesses found in the Rigveda are found amongst other belief systems based on Proto-Indo-European religion, while most of the words used share common roots with words from other Indo-European languages.^[46] However, about 300 words in the Rigveda are neither Indo-Aryan nor Indo-European, states the Sanskrit and Vedic literature scholar Frits Staal.^[47] Of these 300, many – such as kapardin, kumara, kumari, kikata – come from Munda or proto-Munda languages found in the eastern and northeastern (Assamese) region of India, with roots in Austroasiatic languages. The others in the list of 300 – such as mleccha and nir – have Dravidian roots found in the southern region of India, or are of Tibeto-Burman origins. A few non-Indo-European words in the Rigveda – such as for camel, mustard and donkey – belong to a possibly lost Central Asian language.^{[47][48][note 4]} The linguistic sharing provides clear indications, states Michael Witzel, that the people who spoke Rigvedic Sanskrit already knew and interacted with Munda and Dravidian speakers.^[50]

Composition

The "family books" (2–7) are associated with various clans and chieftains, containing hymns by members of the same clan in each book; but other clans are also represented in the Rigveda. The family books are associated with specific regions, and mention prominent Bharata and Pūru kings.^[51]

Tradition associates a rishi (the composer) with each ṛc (verse) of the Rigveda. Most sūktas are attributed to single composers;^{[note 5]} for each of them the Rigveda includes a lineage-specific āprī hymn (a special sūkta of rigidly formulaic structure, used for rituals). In all, 10 families of rishis account for more than 95 per cent of the ṛcs.

Collection and organisation

The codification of the Rigveda took place late in the Rigvedic or rather in the early post-Rigvedic period at c. 1200 BCE, by members of the early Kuru tribe, when the center of Vedic culture moved east from the Punjab into what is now Uttar Pradesh.^[52] The Rigveda was codified by compiling the hymns, including the arrangement of the individual hymns in ten books, coeval with the composition of the younger Veda Samhitas.^[53] According to Witzel, the initial collection took place after the Bharata victory in the Battle of the Ten Kings, under king Sudās, over other Puru kings. This collection was an effort to reconcile various factions in the clans which were united in the Kuru kingdom under a Bharata king.^{[54][note 6]} This collection was re-arranged and expanded in the Kuru Kingdom, reflecting the establishment of a new Bharata-Puru lineage and new srauta rituals.^{[55][note 7]}

The fixing of the Vedic chant (by enforcing regular application of sandhi) and of the padapatha (by dissolving Sandhi out of the earlier metrical text), occurred during the later Brahmana period, in roughly the 6th century BCE.^[57]

The surviving form of the Rigveda is based on an early Iron Age collection that established the core 'family books' (mandalas 2–7, ordered by author, deity and meter^[5]) and a later redaction, coeval with the redaction of the other Vedas, dating several centuries after the hymns were composed. This redaction also included some additions (contradicting the strict ordering scheme) and orthoepic changes to the Vedic Sanskrit such as the regularization of sandhi (termed orthoepische Diaskeuase by Oldenberg, 1888).

Organisation

Transmission

As with the other Vedas, the redacted text has been handed down in several versions, including the Padapatha, in which each word is isolated in pausa form and is used for just one way of memorization; and the Samhitapatha, which combines words according to the rules of sandhi (the process being described in the Pratisakhya) and is the memorized text used for recitation.

The Padapatha and the Pratisakhya anchor the text's true meaning,^[69] and the fixed text was preserved with unparalleled fidelity for more than a millennium by oral tradition alone.^[28] In order to achieve this the oral tradition prescribed very structured enunciation, involving breaking down the Sanskrit compounds into stems and inflections, as well as certain permutations. This interplay with sounds gave rise to a scholarly tradition of morphology and phonetics.

It is unclear as to when the Rigveda was first written down. The oldest surviving manuscripts have been discovered in Nepal and date to c. 1040 CE.^[3][70] According to Witzel, the Paippalada Samhita tradition points to written manuscripts c. 800–1000 CE.^[71] The Upanishads were likely in the written form earlier, about mid-1st millennium CE (Gupta Empire period).^[28][72] Attempts to write the Vedas may have been made "towards the end of the 1st millennium BCE". The early attempts may have been unsuccessful given the Smriti rules that forbade the writing down the Vedas, states Witzel.^[28] The oral tradition continued as a means of transmission until modern times.^[73]

Recensions

Several shakhas (from skt. śākhā f. "branch", i. e. "recension") of the Rig Veda are known to have existed in the past. Of these, Śākala Śākhā (named after the scholar Śākalya) is the only one to have survived in its entirety. Another śākhā that may have survived is the Bāṣkala, although this is uncertain.^[74][75][76]

The surviving padapāṭha version of the Rigveda text is ascribed to Śākalya.^[77] The Śākala recension has 1,017 regular hymns, and an appendix of 11 vālakhilya hymns^[78] which are now customarily included in the 8th mandala (as 8.49–8.59), for a total of 1028 hymns.^[79] The Bāṣkala recension includes eight of these vālakhilya hymns among its regular hymns, making a total of 1025 regular hymns for this śākhā.^[80] In addition, the Bāṣkala recension has its own appendix of 98 hymns, the Khilani.^[81]

In the 1877 edition of Aufrecht, the 1028 hymns of the Rigveda contain a total of 10,552 ṛcs, or 39,831 padas. The Shatapatha Brahmana gives the number of syllables to be 432,000,^[82] while the metrical text of van Nooten and Holland (1994) has a total of 395,563 syllables (or an average of 9.93 syllables per pada); counting the number of syllables is not straightforward because of issues with sandhi and the post-Rigvedic pronunciation of syllables like súvar as svàr.

Three other shakhas are mentioned in Caraṇavyuha, a pariśiṣṭa (supplement) of Yajurveda: Māṇḍukāyana, Aśvalāyana and Śaṅkhāyana. The Atharvaveda lists two more shakhas. The differences between all these shakhas are very minor, limited to varying order of content and inclusion (or non-inclusion) of a few verses. The following information is known about the shakhas other than Śākala and Bāṣkala:^[83]

• Māṇḍukāyana: Perhaps the oldest of the Rigvedic shakhas.
• Aśvalāyana: Includes 212 verses, all of which are newer than the other Rigvedic hymns.
• Śaṅkhāyana: Very similar to Aśvalāyana
• Saisiriya: Mentioned in the Rigveda Pratisakhya. Very similar to Śākala, with a few additional verses; might have derived from or merged with it.

Manuscripts

The Rigveda hymns were composed and preserved by oral tradition. They were memorized and verbally transmitted with "unparalleled fidelity" across generations for many centuries.^[28][84] According to Barbara West, it was probably first written down about the 3rd-century BCE.^[85][86] The manuscripts were made from birch bark or palm leaves, which decompose and therefore were routinely copied over the generations to help preserve the text.

Hymns

The Rigvedic hymns are dedicated to various deities, chief of whom are Indra, a heroic god praised for having slain his enemy Vrtra; Agni, the sacrificial fire; and Soma, the sacred potion or the plant it is made from. Equally prominent gods are the Adityas or Asura gods Mitra–Varuna and Ushas (the dawn). Also invoked are Savitr, Vishnu, Rudra, Pushan, Brihaspati or Brahmanaspati, as well as deified natural phenomena such as Dyaus Pita (the shining sky, Father Heaven), Prithivi (the earth, Mother Earth), Surya (the sun god), Vayu or Vata (the wind), Apas (the waters), Parjanya (the thunder and rain), Vac (the word), many rivers (notably the Sapta Sindhu, and the Sarasvati River). The Adityas, Vasus, Rudras, Sadhyas, Ashvins, Maruts, Rbhus, and the Vishvadevas ("all-gods") as well as the "thirty-three gods" are the groups of deities mentioned.^{[citation needed]}

• Mandala 1 comprises 191 hymns. Hymn 1.1 is addressed to Agni, and his name is the first word of the Rigveda. The remaining hymns are mainly addressed to Agni and Indra, as well as Varuna, Mitra, the Ashvins, the Maruts, Usas, Surya, Rbhus, Rudra, Vayu, Brhaspati, Visnu, Heaven and Earth, and all the Gods. This Mandala is dated to have been added to the Rigveda after Mandala 2 through 9, and includes the philosophical Riddle Hymn 1.164, which inspires chapters in later Upanishads such as the Mundaka.^{[19][102][103]}
• Mandala 2 comprises 43 hymns, mainly to Agni and Indra. It is chiefly attributed to the Rishi gṛtsamada śaunahotra.^{[citation needed]}
• Mandala 3 comprises 62 hymns, mainly to Agni and Indra and the Vishvedevas. The verse 3.62.10 has great importance in Hinduism as the Gayatri Mantra. Most hymns in this book are attributed to viśvāmitra gāthinaḥ.^{[citation needed]}
• Mandala 4 comprises 58 hymns, mainly to Agni and Indra as well as the Rbhus, Ashvins, Brhaspati, Vayu, Usas, etc. Most hymns in this book are attributed to vāmadeva gautama.^{[citation needed]}
• Mandala 5 comprises 87 hymns, mainly to Agni and Indra, the Visvedevas ("all the gods'), the Maruts, the twin-deity Mitra-Varuna and the Asvins. Two hymns each are dedicated to Ushas (the dawn) and to Savitr. Most hymns in this book are attributed to the atri clan.^{[citation needed]}
• Mandala 6 comprises 75 hymns, mainly to Agni and Indra, all the gods, Pusan, Ashvin, Usas, etc. Most hymns in this book are attributed to the bārhaspatya family of Angirasas.^{[citation needed]}
• Mandala 7 comprises 104 hymns, to Agni, Indra, the Visvadevas, the Maruts, Mitra-Varuna, the Asvins, Ushas, Indra-Varuna, Varuna, Vayu (the wind), two each to Sarasvati (ancient river/goddess of learning) and Vishnu, and to others. Most hymns in this book are attributed to vasiṣṭha maitravaruṇi.^{[citation needed]}
• Mandala 8 comprises 103 hymns to various gods. Hymns 8.49 to 8.59 are the apocryphal vālakhilya. Hymns 1–48 and 60–66 are attributed to the kāṇva clan, the rest to other (Angirasa) poets.^{[citation needed]}
• Mandala 9 comprises 114 hymns, entirely devoted to Soma Pavamana, the cleansing of the sacred potion of the Vedic religion.^{[citation needed]}
• Mandala 10 comprises additional 191 hymns, frequently in later language, addressed to Agni, Indra and various other deities. It contains the Nadistuti sukta which is in praise of rivers and is important for the reconstruction of the geography of the Vedic civilization and the Purusha sukta which has been important in studies of Vedic sociology.^[40] It also contains the Nasadiya sukta (10.129) which deals with multiple speculations about the creation of universe, and whether anyone can know the right answer.^[21] The marriage hymns (10.85) and the death hymns (10.10–18) still are of great importance in the performance of the corresponding Grhya rituals.

Rigveda Brahmanas

Of the Brahmanas that were handed down in the schools of the Bahvṛcas (i.e. "possessed of many verses"), as the followers of the Rigveda are called, two have come down to us, namely those of the Aitareyins and the Kaushitakins. The Aitareya-brahmana^[104] and the Kaushitaki- (or Sankhayana-) brahmana evidently have for their groundwork the same stock of traditional exegetic matter. They differ, however, considerably as regards both the arrangement of this matter and their stylistic handling of it, with the exception of the numerous legends common to both, in which the discrepancy is comparatively slight. There is also a certain amount of material peculiar to each of them.^{[citation needed]}

The Kaushitaka is, upon the whole, far more concise in its style and more systematic in its arrangement features which would lead one to infer that it is probably the more modern work of the two. It consists of 30 chapters (adhyaya); while the Aitareya has 40, divided into eight books (or pentads, pancaka), of five chapters each. The last 10 adhyayas of the latter work are, however, clearly a later addition though they must have already formed part of it at the time of Pāṇini (c. 5th century BCE), if, as seems probable, one of his grammatical sutras, regulating the formation of the names of Brahmanas, consisting of 30 and 40 adhyayas, refers to these two works. In this last portion occurs the well-known legend (also found in the Shankhayana-sutra, but not in the Kaushitaki-brahmana) of Shunahshepa, whom his father Ajigarta sells and offers to slay, the recital of which formed part of the inauguration of kings.^{[citation needed]}

While the Aitareya deals almost exclusively with the Soma sacrifice, the Kaushitaka, in its first six chapters, treats of the several kinds of haviryajna, or offerings of rice, milk, ghee, etc., whereupon follows the Soma sacrifice in this way, that chapters 7–10 contain the practical ceremonial and 11–30 the recitations (shastra) of the hotar. Sayana, in the introduction to his commentary on the work, ascribes the Aitareya to the sage Mahidasa Aitareya (i.e. son of Itara), also mentioned elsewhere as a philosopher; and it seems likely enough that this person arranged the Brahmana and founded the school of the Aitareyins. Regarding the authorship of the sister work we have no information, except that the opinion of the sage Kaushitaki is frequently referred to in it as authoritative, and generally in opposition to the Paingya—the Brahmana, it would seem, of a rival school, the Paingins. Probably, therefore, it is just what one of the manuscripts calls it—the Brahmana of Sankhayana (composed) in accordance with the views of Kaushitaki.^{[citation needed]}

Rigveda Aranyakas and Upanishads

Each of these two Brahmanas is supplemented by a "forest book", or Aranyaka. The Aitareyaranyaka is not a uniform production. It consists of five books (aranyaka), three of which, the first and the last two, are of a liturgical nature, treating of the ceremony called mahavrata, or great vow. The last of these books, composed in sutra form, is, however, doubtless of later origin, and is, indeed, ascribed by Hindu authorities either to Shaunaka or to Ashvalayana. The second and third books, on the other hand, are purely speculative, and are also styled the Bahvrca-brahmana-upanishad. Again, the last four chapters of the second book are usually singled out as the Aitareya Upanishad,^[105] ascribed, like its Brahmana (and the first book), to Mahidasa Aitareya; and the third book is also referred to as the Samhita-upanishad. As regards the Kaushitaki-aranyaka, this work consists of 15 adhyayas, the first two (treating of the mahavrata ceremony) and the 7th and 8th of which correspond to the first, fifth, and third books of the Aitareyaranyaka, respectively, whilst the four adhyayas usually inserted between them constitute the highly interesting Kaushitaki (Brahmana-) Upanishad,^[106] of which we possess two different recensions. The remaining portions (9–15) of the Aranyaka treat of the vital airs, the internal Agnihotra, etc., ending with the vamsha, or succession of teachers.

Shruti

The Vedas as a whole are classed as "shruti" in Hindu tradition. This has been compared to the concept of divine revelation in Western religious tradition, but Staal argues that "it is nowhere stated that the Veda was revealed", and that shruti simply means "that what is heard, in the sense that it is transmitted from father to son or from teacher to pupil".^[122] The Rigveda, or other Vedas, do not anywhere assert that they are apauruṣeyā, and this reverential term appears only centuries after the end of the Vedic period in the texts of the Mimamsa school of Hindu philosophy.^{[122][123][124]} The text of the Rigveda suggests it was "composed by poets, human individuals whose names were household words" in the Vedic age, states Staal.^[122]

The authors of the Brāhmana literature discussed and interpreted the Vedic ritual.

Sanskrit grammarians

Yaska (4th c. BCE), a lexicographer, was an early commentator of the Rigveda by discussing the meanings of difficult words. In his book titled Nirukta Yaska asserts that the Rigveda in the ancient tradition can be interpreted in three ways – from the perspective of religious rites (adhiyajna), from the perspective of the deities (adhidevata), and from the perspective of the soul (adhyatman).^[125] The fourth way to interpret the Rigveda also emerged in the ancient times, wherein the gods mentioned were viewed as symbolism for legendary individuals or narratives.^[125] It was generally accepted that creative poets often embed and express double meanings, ellipses and novel ideas to inspire the reader.^[125]

Medieval Hindu scholarship

By the period of Puranic Hinduism, in the medieval period, the language of the hymns had become "almost entirely unintelligible", and their interpretation mostly hinged on mystical ideas and sound symbolism.^{[126][127][128]}

According to the Puranic tradition, Ved Vyasa compiled all the four Vedas, along with the Mahabharata and the Puranas. Vyasa then taught the Rigveda samhita to Paila, who started the oral tradition.^[129] An alternate version states that Shakala compiled the Rigveda from the teachings of Vedic rishis, and one of the manuscript recensions mentions Shakala.^[129]

Madhvacharya, a Hindu philosopher of the 13th century, provided a commentary of the first 40 hymns of the Rigveda in his book Rig Bhashyam.^{[note 9]} In the 14th century, Sāyana wrote an exhaustive commentary on the complete text of the Rigveda in his book Rigveda Samhita.^{[note 10]} This book was translated from Sanskrit to English by Max Müller in the year 1856. H.H. Wilson also translated this book into English as Rigveda Sanhita in the year 1856. Sayanacharya studied at the Sringeri monastery.

A number of other commentaries (bhāṣyas) were written during the medieval period, including the commentaries by Skandasvamin (pre-Sayana, roughly of the Gupta period), Udgitha (pre-Sayana), Venkata-Madhava (pre-Sayana, c. 10th to 12th centuries) and Mudgala (after Sayana, an abbreviated version of Sayana's commentary).^{[130][full citation needed]}

Some notable commentaries from Medieval period include:

Arya Samaj and Aurobindo movements

In the 19th and early 20th centuries, reformers like Swami Dayananda Saraswati (founder of the Arya Samaj) and Sri Aurobindo (founder of Sri Aurobindo Ashram) discussed the philosophies of the Vedas. According to Robson, Dayananda believed "there were no errors in the Vedas (including the Rigveda), and if anyone showed him an error, he would maintain that it was a corruption added later".^[131]

According to Dayananda and Aurobindo the Vedic scholars had a monotheistic conception.^[132] Sri Aurobindo gave commentaries, general interpretation guidelines, and a partial translation in The secret of Veda (1946).^{[note 11]} Sri Aurobindo finds Sayana's interpretation to be ritualistic in nature, and too often having inconsistent interpretations of Vedic terms, trying to fit the meaning to a narrow mold. According to Aurobindo, if Sayana's interpretation were to be accepted, it would seem as if the Rig Veda belongs to an unquestioning tradition of faith, starting from an original error.^[133] Aurobindo attempted to interpret hymns to Agni in the Rigveda as mystical.^[132] Aurobindo states that the Vedic hymns were a quest after a higher truth, define the Rta (basis of Dharma), conceive life in terms of a struggle between the forces of light and darkness, and sought the ultimate reality.^[132]

Contemporary Hinduism

The Rigveda, in contemporary Hinduism, has been a reminder of the ancient cultural heritage and point of pride for Hindus, with some hymns still in use in major rites of passage ceremonies, but the literal acceptance of most of the textual essence is long gone.^[136][137] Musicians and dance groups celebrate the text as a mark of Hindu heritage, through incorporating Rigvedic hymns in their compositions, such as in Hamsadhvani and Subhapantuvarali of Carnatic music, and these have remained popular among the Hindus for decades.^[136]

According to Axel Michaels, "most Indians today pay lip service to the Veda and have no regard for the contents of the text."^[138] According to Louis Renou, the Vedic texts are a distant object, and "even in the most orthodox domains, the reverence to the Vedas has come to be a simple raising of the hat".^[136] According to Andrea Pinkney, "the social history and context of the Vedic texts are extremely distant from contemporary Hindu religious beliefs and practice", and the reverence for the Vedas in contemporary Hinduism illustrates the respect among the Hindus for their heritage.^[136]