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Rishi Dhirgatamas (दीर्घतमस्) was an ancient sage, well known for his philosophical verses Suktas (hymns) 140 to 164 in the First Mandala (section) of the Rigveda.

He was said to be the son of Ucathya (उचथ्य) and Mamata (ममता) – Dhirgatamas Aucathya Mamateya. He is often called by the name of his mother as – Mamateya (दीर्घतमाः । मामतेयः)

Dhirgatamas was one of the Angirasa Rishis, the oldest of the Rishi families; and, was said to be the brother of Rishi Bharadwaja, who is the seer of the Sixth Mandala of the Rig Veda.

The Angirasa Rishis – Brihaspati, Dhirgatamas and Bharadwaja- were said to be the central figures during the period of the Pururava Kings Dushyanta and Bharatha,

It is believed that Dhirgatamas was the purohit or the Chief-priest of King Bharata, one among the earliest kings of the land.

The Athreya Brahmana says that Dhirgatamas consecrated Bharata, the son of the famous Paurava king Dusyanta, with the Maha-abhiseka. After this great anointing, King Bharata went round the earth, conquering on every direction; and, thereafter performed Ashva-Medha-Yagna.

Etena ha vā aindreṇa mahābhiṣekeṇa Dīrghatamā-Māmateyo Bharataṃ-Dauḥṣantim abhiṣiṣeca. tasmād u Bharato-Dauḥṣantiḥ samantaṃ sarvataḥ pr̥thivīṃ jayan parīyāyāśvair u ca medhyair īje – (Aitareya Brahmana VIII.23),

Dhirgatamas was also the foremost predecessor of the Gautama family of Rishis that included such scholarly Rishis as Kak-Shivan, Gautam Maharishi, and Vamadeva (seer of the Fourth Mandala of the Rigveda) – who along with Dhirgatamas account for almost 150 of the 1000 hymns of the Rigveda.

Rishi Kak-Shivan is said to be one of the sons of Dhirgatamas. And, this Kak-Shivan is the author of many poems found in the First Mandala (116 to 126). Dhirgatamas and his son Kak-Shivan were among the reputed poets who lived during the times of Dushyanta and Bharata

The language of Dhirgatamas

Dhirgatamas, the great poet of the Vedic period, is celebrated as one of the most impressive personalities among the Rishis of the Rigveda.

The poet theorizes the origin of the world; it’s tacit secrets; and , of the nature of language, through in his poetic vision.

Karl Friedrich Geldner, the distinguished German Scholar, in the notes to his translation of the Rigveda, lauds the hymn of Dhirgatamas as containing the wonders of Nature and of Man’s life; speculations about time and about human; especially his poetic language. They are all clothed in varied allegories and riddles; and their solution is rather difficult.

Geldner regards the hymn as belonging to the class of Brahmodaya Suktas, depicting the Mystic poet’s inspired response to the wonders of Nature and of Human Life; speculations about Cosmos beyond. In the process, he has brought together a number of Vedic Doctrines about the Universe, its creation and its progression.

The enigmatic language, symbolisms, mystic-representations etc. that he has employed are all relevant in the context of his effort to project a consistent thought-provoking illustration of the world around us.

Its language may not be exact; its tenets might be vague. And yet, one has to accept that the Rishi sheds light on the dark depths of human thought. There is much to be learnt from the philosopher ’s speculations of the Truth.

Unlike in the other Vedic texts, there are not many prayers addressed to gods in Asya Vamasya Sukta. It is mainly concerned with raising of doubts, questions; suggesting answers; and glorification of knowledge and the Ultimate. Truth.

Dhirgatamas contributed much to the hypothesis concerning creation and sustenance of the universe. He put forth his concepts about a single absolute and self-subsistent principle, which is an infinite, inexhaustible source of power.

In his opinion, all finite things are products of the self-evolution of interrelated factors, enveloped within a single universal system; and, all of this existence, therefore, is a monogamous unit.

But the major problem with his writing is his most elusive enigmatic, puzzling and at times inscrutable language, terms and symbols that he employed to enunciate his metaphysical concepts.

His verses can be interpreted in varied, diverse manners; each conflicting with the other.

Dr. Kunhan Raja observes:

When we read his poems, we find ourselves in the presence of a great poet.

His Visual symbols are essentially the language of metaphysics; just as the words are of philosophy. But, shorn of their veneer, they are eloquent expressions, the meaning of which is familiar to all mankind.

When we enter the very mysterious region visualized in this poem, we find that the poet has presented a recognizable representation of things that are hidden from the understanding of the ordinary people.

With the symbolisms lost to us; and with the background obliterated, we are not able to see the significance of the whole picture

The meaning of many of the words used here, like the names of the meters etc., are unknown to us. We do not know what they exactly mean. And, there is the complex combination of songs set in meters of varied structures.

The contents of the poem turn out to be a riddle to us because we have lost the clue to the correct interpretation of the poem. We do not know many of the symbols and many of the conventions current in those days. Various notions and symbols current in those days are now lost to us, and so we do not have the necessary apparatus to work up the full and precise meaning of the lines in this poem.

The problem has been studied with the aid of grammar, language and vocabulary; the structure of the meter; and the general content of the hymns etc.

There are many terms and expressions, many modes of presentation that we cannot understand. We do not know to what the various numbers like three and seven refer to; the simile of the cow with the calf ; the imagery of the father and mother ; and other figures are also obscure.

Thus, we find ourselves having to handle a puzzle; we are faced with a mystery.

Yet, we need not lose all hope of deciphering something out of the poem. There are some pointers which might help us to interpret, unravel the mystery.

But, one thing is certain; this is not a haphazard jumble of many verses crammed into a single hymn. There is a unity and there is a continuity of thought also, within the whole poem. Not only this, the entire collection of the fifty-two hymns composed by Dhirgatamas has a plan; and , it must have been set in this order as per the traditions of his time.

The seemingly paradoxical language of Dhirgatamas is clustered with symbolisms (समाधि– भाषा – Samadhi-bhasha). And, it is not easy to follow. In his rendering, each created object, both natural and human, or an activity, or a thought, or a number, becomes a typical symbol pregnant with meaning. It is said; the language of Dhirgatamas, verily, is that of the Nature itself, in the form of the created objects, each of which conceals the Great Mystery at the core of its being.

Some have tried to explain why the Vedic thinkers selected the style of symbolism, which does seem rather ambiguous, today.

It is said; it was a deliberate ploy employed in order to explain the elements surrounding the creation of the Cosmos and of the primeval entities, of which it is constituted, viz. Mind, Life and Matter. It is said; words are mere symbols of the ideas; just as the manifest is the outer expression of the dormant unmanifest.

The language of the symbols is elastic; amenable to interpretation in varied manners. This is an advantage over the ordinary language.

The Rishis adopted the phenomena of physical Nature as figurative reflections of the functioning of Man’s inner life. They might have otherwise found it difficult to give expression to subtle ideas in the commonplace language of everyday life.

Here, the Vedic thinkers seized upon the working of the Cosmos itself, as displayed in several categories and objects in Nature – Such as: The Ocean, Sky, Earth, Air, Water, Sun, Moon, Mountains, Rivers, Forests, Trees, Animals, Rains, Clouds. And, each one of these objects stand out as an eloquent epithet in the language of Nature.

For instance; the Chariot of the Sun, Ratha, is used to symbolize the physical Universe. And, his horses are the powers or the dynamic energies, which by their sheer drive propel and provide progression to the events in the Cosmos.

As said: the wise ones were in awe of nature. They marveled at the systematic and dependable rising and setting of the sun, cycles of season – particularly the rainy one – so essential for agriculture; appearance and disappearance of the moon; the starry sky and the milky way. They wondered how all of these came about.

Dhirgatamas was a thinker of the Vedic age; and, naturally his outbursts are cast in the thought-moulds of his time. He was a mystic and a poet. And.as said earlier; he is famous for his paradoxical apothegms that are enigmatic.

Prof. Wendy Doniger, a noted Sanskrit Scholar, in her book The Rig Veda An Anthology (Penguin Books) comments:

This long and complex hymn has inspired many elaborate, detailed glosses and still remains largely obscure. The language, however, is not particularly difficult; and certain major themes emerge with sufficient clarity to encourage the translator to present the hymn in a relatively raw state of exegesis, rather than burden the reader with a critical apparatus out of proportion to the poem itself.

One reason for the great scholarly attention paid to this hymn is that it is traditionally regarded as a riddle – a tradition of Vedic exegetes. And there are solid grounds for this tradition, for many questions are asked outright in the hymn; and others are hidden in a symbolism that seems deliberately labyrinthine. Yet it seems that the poet thought he knew the answers to some of his questions and posed others merely rhetorically, as questions no one would dream of trying to answer. The reader is thus encouraged to solve those that can be solved and to leave the others unanswered.

The hymn demonstrates a unity on two distinct but intersecting levels, explicit and implicit. That is, certain tropes emerge repeatedly to express different ideas, and certain ideas emerge repeatedly to be expressed by different tropes.

The Suktha employs many of the traditional Vedic imagery to weave a maze of explicit and implicit riddles. In a series of simple but obscure verses complex meanings are piled up to create an elaborate vision.

For example, the hymn mentions cows and birds in several verses; the cow may stand for the Dawn (who is not explicitly named) or the goddess of Speech (who is), and the birds for the sun or the mortal (both explicitly named), while the Dawn may also be represented in verses ostensibly about a woman, and the sun in verses about a horse.

On one level, it is clear that the hymn is about the things it is talking about – about riddles and numbers and wisdom and immortality and birds and chariots and horses and cows and speech and the sacrifice, all of which are described in vividly naturalistic detail.

But they are also described in terms that make no sense on a naturalistic level (what chariot could have a single wheel, or have spokes at the same time as seven spokes?), and it appears that these distortions arise through the identification of several of the images with abstract ideas, particularly the chariot and birds identified with the sun or year or yearly sacrifice or immortal soul, and the cow or the mother identified with Dawn or Speech.

Many particular obscurities remain, of course, and many verses mean several things at once, but when viewed in this overarching framework the hymn reveals a number of consistent questions and answers expressed through a careful network of highly charged symbols.

Dhirgatamas- His theory of creation

The. single, absolute, self-subsistent principle, according to Dhirgatamas is Fire (Agni – the sun in the upper regions – parastat). He recognizes three forms of Fire: The Sun, the Lightning and the Fire

अस्य । वामस्य । पलितस्य । होतुस्तस्य । भ्राता । मध्यमो । अस्त्यश्नः। तृतीयो । भ्राता । घृतपृष्ठो । अस्यात्रापश्यं । विश्पतिं सप्तपुत्रम् ॥१॥ ॥ १.१६४.०१ ॥

And, he is of opinion that the Sun, blazing with dazzling radiance and warmth, is the oldest of the three; and is the first cause. This Sun, held up and propelled by its inherent force (स्वध Svadha), clad in its own splendor , travels in all the worlds , without stoppage.

अनत् । शये । तुरगातु । जीवम् । एजत् । ध्रुवम् । मध्ये । आ । पस्त्यानाम् । जीवः। मृतस्य। चरति । स्वधाभिः । अमर्त्यः । मर्त्येन । सयोनिः ॥१.१६४.३० ॥

[ In the hymns of the Rigveda, Sun (Surya) is celebrated as the Soul (Atman) of all that moves or is immoveable; enlivening the heaven, the earth, and all the surrounding space –

अप्राः । द्यावापृथिवी इति । अन्तरिक्षम् । सूर्यः । आत्मा । जगतःतस्थुषः । च ॥ – Rig Veda 1.115.1 .

He is the Divine power in the heavens; the Lightening in the atmosphere; and the Fire on Earth. These are the three main manifestations of light in our visible world.

Sun moves in its orbit, which itself is moving. Earth and other bodies move around sun due to the force of attraction (आकर्षण) .

All beings abide in this five-spoked revolving wheel; the heavily-loaded axle is never heated; its eternal compact nave is never worn away.

पञ्चअरे । चक्रे । परिवर्तमाने । तस्मिन् । आ । तस्थुः । भुवनानि । विश्वा । तस्य । न । अक्षः । तप्यते । भूरिभारः । सनात् । एव । न । शीर्यते । सनाभिः ॥ Rig Veda 1.164.13

Surya is Vipra, the radiant one. He is the Master of Truth. He enlightens and enlivens. It is he who liberates the human mind from the restrictive confines of the physical world.]

Dhirgatamas maintained that all living beings rest and depend ultimately on the Sun. And, Sun is the eternal source of Life in all this existence. Sun is the protector of the world – पलितस्य; as without him there would be no life on this planet.

He compared the Sun to a chariot, fitted with one wheel, which revolves with its axle that is heavy-laden, but not heated; and with its nave unbroken from time immemorial. The wheel, as he says, has twelve spokes, representing the twelve months. A year with twelve months consists of seven- hundred and twenty days and nights together, and the additional days and nights go to form the intercalary month. The year is divided into a certain number of seasons.

सप्त । युञ्जन्ति । रथम् । एकचक्रम् । एकः । अश्वः । वहति । सप्तनामा । त्रिनाभि । चक्रम् । अजरम् । अनर्वम् । यत्र । इमा । विश्वा । भुवना । अधि । तस्थुः ॥ Rigveda 1.164.2 ॥

द्वादश । प्रधयः । चक्रम् । एकम् । त्रीणि । नभ्यानि । कः । ऊँ इति । तत् । चिकेत । तस्मिन् । साकम् । त्रिशताः । न । शङ्कवः । अर्पिताः । षष्टिः । न । चलाचलासः ॥॥ Rigveda 1.164.48 ॥

He said: the Sun delights men with rains in the season. The tempest clouds (Parjanya) infuse Life into the Earth in the form of rain and various other kinds of energies. The clouds are formed by the water raising up in a uniform manner; and, falling back in due course. And, it is from this water the life derives its sustenance.

Dhirgatamas suggested that Sun is the un-born, un-changing cause of the ever-fleeting splendor of created things. The world as a whole is guided on towards a path of progress by two principles — active and passive, compared to two birds roosting on the same world-tree. One of them eats fruits, while the other does not eat, but silently reflects only.

द्वा सुपर्णा सयुजा सखाया समानं वृक्षं परिषस्वजाते। तयोरन्यः पिप्पलं स्वाद्वत्त्यनश्नन्नन्यो अभिचाकशीति ॥ // Mundu.Up //

It is thus; the whole of nature is moving along the road towards an end. Its governing principles are however emanations from its own inherent, energizing force. These are inseparable companions.

As Dr. Beni-madhab Barua puts it:

All physical phenomena, states and processes can be accounted for by the principles of mechanics and physics, while the final question of their origin and interaction remains ever insoluble.

There is nevertheless to be felt behind all these, the presence of an unseen hand at work; the play of a deep mystery that ever eludes man’s grasp.

The nature of ultimate reality, according to Dhirgatamas, is however unknown, and probably unknowable. The world of experience is conceived as a systematic unity, the whole of nature being a sort of Divine machine evolving and working itself to an end by some fixed and uniform laws of motion, interaction, and so forth.

The trend of his thought is towards the idea of a single absolute and self-subsistent principle, which is infinite – in the sense of being an inexhaustible power; and, towards the view that all finite things are products of the self-evolution of correlated factors of one universal system and plan; and that the world therefore is a unity. (Dr. Henry Stephen)

Thus, the attitude of Dhirgatamas towards the deepest problem of philosophy seems to border on agnosticism. But; he persistently tends to derive the many from the one single, ordaining, sustaining, coordinating self-existent principle, of which all known forces, laws and movements are its varied manifestations.

Although the mysterious is always the mysterious, Dhirgatamas advanced far enough to suggest that it is the un-born, un-changing cause of the ever-fleeting show of created things, and that whatever its real nature is, it seems to partake more of the material and less of the spiritual.

The world, as a whole, surges along a path of progress, guided by two principles — active and passive – compared to two birds roosting on the same world-tree. One of them eats fruits, while the other does not eat, but only reflects, silently.

द्वा । सुपर्णा । सयुजा । सखाया । समनम् । वृक्षम् । परि । सस्वजाते इति । तयोः । अन्यः । पिप्पलम् । स्वादु । अत्ति । अनश्नन् । अन्यः । अभि । चाकशीति ॥ [Rigveda 1.164.20]

It is how the whole of nature is moving along the road, towards an end. Its guiding principles are however emanations from the same unborn, energizing force. These are inseparable companions.

Asya Vamasya Suktam

Dhirgatamas is the author of twenty-five poems in the First Mandala of the Rigveda (140 to 164). The set of hymns under Sukta 164, titled by its opening lines: Asya Vamasya (Rigveda 1.164) , gained great fame.

This is one of the sage’s most famous poems. The hymns of Dhirgatamas are indeed ancient. His grammar, vocabulary etc., as also his presentation of gods, nature are clustered with symbolisms that are not easy to understand or decode.

In the words of the erudite scholar Dr. Kunhan Raja

His paradoxical apothegms; to date, none has been able to fully decode. His poetry is known for its exceedingly complex symbolism.

And, he writes in his First Mandala, 140th Sukta, 12th mantra, that our whole life is not a journey in a single boat, we go in one boat, we finish the task, then take another boat, and do another task, then third boat, and so on. These are the voyages of the spirit.

रथाय । नावम् । उत । नः । गृहाय । नित्यअरित्राम् । पत्वतीम् । रासि । अग्ने । अस्माकम् । वीरान् । उत । नः । मघोनः । जनान् । च । या । पारयात् । शर्म । या । च ॥ 1.140.12. II

He who knows the father below by what is above, and he who knows the father who is above by what is below is called the poet (कवियमानः)

अवः । परेण । पितरम् । यः । अस्य । अनुवेद । परः । एना । अवरेण । कवियमानः । कः । इह । प्र । वोचत् । देवम् । मनः । कुतः । अधि । प्रजातम् ॥ 1.164.18

If a person knows who he is; then he attains the true goal of life – (Bhuteshu-Bhuteshu Vichitya dhirah -KU.2.5)

इह चेदवेदीदथ सत्यमस्ति। न चेदिहावेदीन्महती विनष्टिः।भूतेषु भूतेषु विचित्य धीराः। प्रेत्यास्माल्लोकादमृता भवन्ति ॥KU.2.5 II

Dhirgatamas and his truly inspired vision had a great role in shaping Indian Philosophy. His commendable knowledge in spirituality; his versatile talent in poetry; and, his inspired gift of vision stands unparalleled even this day.

This is one of the most interesting and important hymns in the whole range of the Vedic literature. It is without a parallel in the Vedas. It is highly philosophical. It is full of mysticism. It is obscure. It is mainly in the form of a riddle; it was originally meant as a riddle and it has become a more insoluble riddle for us than for the people of those ancient days.

Dhirgatamas was confident that no one else other than a wise poet can even hope to truly understand his poems. Even to this day, none has been able to fully decode his poems; at least the Asya Vaamasya Sukta (RV 1.164).

Structure of the Texts assigned to Dhirgatamas

The poet had composed 25 poems about various gods; and this group is followed by a long poem of 52 verses about the realization of poetic vision. The poem seems to have been recited at a Sacrifice where learned people had assembled. The poet describes the world and its origin and of the nature of language and the secrets of the language, as deduced by him through his poetic vision.

***

As mentioned earlier; Dhirgatamas is the author of twenty-five poems in the First Mandala of the Rigveda (140 to 163).

Of the 25 verses – the first 41 verses form a unit dedicated to-various gods, in general; and, the remaining 11 verses are assigned certain specific deities. Yet, there is a unity and a continuity of thought, binding the whole poem.

The first two (140 , 141 and 143 ) are addressed to Agni; the next (142) is an Apri Sukta hymn (the invocation hymns recited just prior to offering the oblations into Agni); with the last verse (163) addressed to Indra.

वेदिसदे । प्रियधामाय । सुद्युते । धासिम्इव । प्र । भर । योनिम् । अग्नये । वस्त्रेणइव । वासय । मन्मना । शुचिम् । ज्योतिःरथम् । शुक्रवर्णम् । तमःहनम् ॥ १.१४०.०१ ॥

अभि । द्विजन्मा । त्रिवृत् । अन्नम् । ऋज्यते । सव्ँम्वत्सरे । ववृधे । जग्धम् । ईम् इति । पुनरिति । अन्यस्य । आसा । जिह्वया । जेन्यः । वृषा । नि । अन्येन । वनिनः । मृष्ट । वारणः ॥ १.१४०.०२ ॥

कृष्णप्रुतौ । वेविजे इति । अस्य । सक्षितौ । उभा । तरेते इति । अभि । मातरा । शिशुम् । प्राचाजिह्वम् । ध्वसयन्तम् । तृषुच्युतम् । आ । साच्यम् । कुपयम् । वर्धनम् । पितुः ॥ १.१४०.०३ ॥

Again, there are seven hymns devoted to Agni (144 to 150).

This is followed by a set of three hymns addressed to Mitra-Varuna. (151 to 153). Of these, the first is addressed to Mitra singly.

There are three hymns addressed to Vishnu (154 to 156). with the first three verses in the second of these hymns addressed jointly to Vishnu and Indra.

Then there are two hymns addressed to the Ashvins. (159 and 160).

the next is addressed to the Ribhus (161); and the next two are in praise of the Horse (162 and 163).

That section is followed by a unit of 52 verses – (Sukta 164) – celebrated as Asya Vamasya Suktam

The scholar Hermann Grassmann divided the hymn into several sections:

The first section of 10 verses he calls Cosmological questions and fancies;
Verses 11 to 15 give a mystic description of the Year and the seasons;
In the following 7 verses (16 to 22) he speaks of as very obscure and impossible to understand;
The three verses (23 to 25) deal with the common meters, and
The four verses following (26 to 29) deal with the cow which is the cloud that gives rain;
The four verses (30 to 33) are again obscure
Verses 34 to 42 and 45 are a glorification of the Sacred Speech;
In the remaining section, omitting verse 48, we find many gods in the Sacrifices and he prefers to bring the verse 48 in the group of verses 11 to 15.

In the subsequent instalments of this series ,

let us briefly go through the Verses of

Asya-Vamiya-Sukta

CONTINUED

IN THE

NEXT PART

REFERENCES

Who was Dhirgatamas …? – Part One

23 Jun

Some of the main concerns of the early Rishis, the Kavis, of the Rigveda, were the speculations on the elusive questions, such as:

How does the world originate? In what manner are men created? By what manner are they united with the existence? Who creates; and, who ordains? From what does this world spring up; and, to what does it ultimately return?

The immediate background to the Indian Philosophy is to be found in the Ukthas (hymns) and Udgithas (recitations) ascribed, in this regard, to the ancient sages (Kavis) of the Rigveda.

The initial philosophic reflections received impetus from the daily experience of things; such as: one changing into another; and, reappearing at the appropriate seasons.

Such constant mutation of things of one’s experience must have roused a sense of wonder and amazement in persons who were lively; and were keen observers of life; and, who were at home with the nature around them.

Prof. Beni-madhab Barua remarks that in ancient India, there was indeed no specific term for what we now call as “philosophy “other than Ukthas or Udgitha; (though its Kavis were erudite theoreticians and truth-seekers).

Thus, the hymns of the Rig Veda (Uktha) and its recitation (Udgitha) itself came to be known as philosophizing. That was perhaps because they did not regard ‘knowing’ (vid) as separate from other aspects of’ ‘being’.

And, it continued to be so until such epithets as Darshana, Brahma-vidya etc. came up in the later periods. By the time of the Upanishads, ‘philosophy’ was a well-recognized branch of study. Most of philosophers and thinkers of the Upanishads were scholars in the traditional mold. Many of them were teachers of great repute.

In contrast; a Kavi in Rig Veda was an inspired Rishi who could see the un-seen. He is the sublime poet who envisioned the mantras (mantra drastaraha); and who conceived the self-evident knowledge (Svatah Pramana) by intuition. A Kavi is also ‘the hearer of the Truth’ (kavayah Satya-srurtah). That is the reason the Vedas are regarded as Surtis, revealed scriptures; and thus A-paurusheya, not authored by any physical agency.

Philosophy in the Vedic ages was generally understood as the search carried on by the Kavis, the Rishis, within their heart , for discovering the relation between the existence (Vyakta) and the distant primordial cause (Avyakta) – Sato bamdham asati (सतो बन्धुमसति RV.10.129.4).

Some even considered what we might call philosophy as Samprasnam; the honest and earnest enquiry; the questioning; or the true doubt – as distinguished from that of a sceptic or the suspicion of an agnostic.

The search for the Ultimate Reality; and the essence that underlies all existence was the explicit quest of the Kavis of the Rigveda.

It is generally accepted; if the object of philosophy is to present a regular system with regard to the essential conditions of knowledge and of the existence of things, then these Vedic Rishis were the foremost philosophical thinkers of our age.

Another philosopher Mahidasa pointed out that the task of philosophy is to explain one’s experience. And, all philosophical investigations should be kept within the bounds of experience. By ‘experience’ he perhaps meant a person’s relation and interaction with the rest of the world and with himself. The maxim that Mahidasa laid down for himself was:

“I know the universe and myself as far as I know the gods; and I know the gods as far as I know the universe and myself” (Aitareya Aranyaka-2.1 .7. 3-7; 2.1.8.2).

The term ‘gods’ in his statements is taken to mean the hymns (uktha) or the elements (Bhutani).

The redoubtable philosopher Dhirgatamas, in his unique manner, preferred to call philosophy as sheer ‘ignorance seeking knowledge’. The knowledge, according to him, consisted in ascertaining the true nature of one, single original cause, from which the plurality of all this existence emanated.

अअचिकित्वान् । चिकितुषः । चित् । अत्र । कवीन् । पृच्छामि । विद्मने । न । विद्वान् । वि । यः । तस्तम्भ । षट् । इमा । रजांसि । अजस्य । रूपे । किम् । अपि । स्वित् । एकम् ॥॥ १.१६४.०६ ॥

For one who does not know the true meaning of the Vedas, of what use are they for him ?

ऋचः । अक्षरे । परमे । विओमन् । यस्मिन् । देवाः । अधि । विश्वे । निसेदुः । यः । तत् । न । वेद । किम् । ऋचा । करिष्यति । ये । इत् । तत् । विदुः । ते । इमे । सम् । आसते ॥ 1.164.39॥

His question to all the great and wise thinkers was :

What is that one original abiding element which, manifested in the form of the unborn sun; and has established and upholds this world-system?

That Great Question (Samprasnam) has continued to engage generations after generations of philosophers in varied forms and in all the regions of the earth.

As mentioned earlier; some of the main concerns of the early Rishis, the Kavis, of the Rigveda were the speculations on the elusive questions, such as:

How does the world originate?
In what manner are men created?
By what manner are they united with the existence?
Who creates; and, who ordains?
From what does this world spring up; and, to what does it return?

Thus, the desire to determine the first cause of the universe was indeed very keen among the Vedic sages; and, it grew keener when sages like Aghamarsana, Prajapathi, Dhirgatamas, attempted to trace this first cause to some primal material substance; and went on to press the enquiry further; at the same time, doubting at each stage, whether pursuing further with such enquiry would indeed lead to any credible result or reliable conclusion.

The First period of the Rigveda could perhaps be called as its creative or reflective phase.

The wise ones were in awe of nature. They marveled at the steady rising and setting of the sun, cycles of season – particularly the rainy one – so essential for agriculture, appearance and disappearance of the moon, the starry sky and the milky way. They wondered how all of this came about.

They seemed to believe that it is difficult to understand the real nature of anything unless we know when and how it was born. The true nature of things really lies in their genesis.

“ He who knows the father below by what is above, and he who knows the father who is above by what is below is called the poet / sage (कवियमानः).”

Dhirgatamas stands at the apex of all, wondering and asking questions to all the great and wise thinkers; such as:

“What is that one original abiding element which, manifested in the form of the unborn Sun; and has established and upholds this world-system?”

अचिकित्वान् । चिकितुषः । चित् । अत्र । कवीन् । पृच्छामि । विद्मने । न । विद्वान् । वि । यः । तस्तम्भ । षट् । इमा । रजांसि । अजस्य । रूपे । किम् । अपि । स्वित् । एकम् ॥ || ६||

Who saw the universe when it first came into existence? Who can tell? what is the source of creation?

कः । अद्धा । वेद । कः । इह । प्र । वोचत् । कुतः । आजाता । कुतः । इयम् । विसृष्टिः । अर्वाक् । देवाः । अस्य । विसर्जनेन । अथ । कः । वेद । यतः । आबभूव ॥॥१०.१२९.०६ ॥

”Where is the Teacher, knowing the solution? Where is the pupil, coming to the Teacher seeking revelation of the mystery? Who has seen the First Cause, from which emanated the creation? How have the elements (Bhutas) come into existence?

If there be one who claims to know, let him declare it here and now. The one who can expound this secret I will accept as the teacher. ‘’

कः । ददर्श । प्रथमम् । जायमानम् । अस्थन्वन्तम् । यत् । अनस्था । बिभर्ति । भूम्याः । असुः । असृक् । आत्मा । क्व । स्वित् । कः । विद्वांसम् । उप । गात् । प्रष्टुम् । एतत् ॥॥ 1.164.04 ॥

पृच्छामि । त्वा । परम् । अन्तम् । पृथिव्याः । पृच्छामि । यत्र । भुवनस्य । नाभिः । पृच्छामि । त्वा । वृष्णः । अश्वस्य । रेतः । पृच्छामि । वाचः । परमम् । विओम ॥ 1.164.34॥

The Cauldron is boiling, so I say, whether we know the mystery of its Heat or not. If there be one who claims to know, let him declare it here and now. The one who can expound this secret I will accept him as the teacher.

अचिकित्वान् । चिकितुषः । चित् । अत्र । कवीन् । पृच्छामि । विद्मने । न । विद्वान् । वि । यः । तस्तम्भ । षट् । इमा । रजांसि । अजस्य । रूपे । किम् । अपि । स्वित् । एकम् ॥Rig Veda 1.164.6 ॥

इह । ब्रवीतु । यः । ईम् । अङ्ग । वेद । अस्य । वामस्य । निहितम् । पदम् । वेरिति वेः । शीर्ष्णः । क्षीरम् । दुह्रते । गावः । अस्य । वव्रिम् । वसानाः । उदकम् । पदा । अपुः ॥ 1.164.7 ॥

Which is the tree (wood) – किम् । स्वित् । वनम् – out of which the visible universe was fashioned?

किम् । स्वित् । वनम् । कः । ऊँ इति । सः । वृक्षः । आस । यतः । द्यावापृथिवी इति । निःततक्षुः । मनीषिणः । मनसा । पृच्छत । इत् । ऊँ इति । तत् । यत् । अधिअतिष्ठत् । भुवनानि । धारयन् ॥Rig Veda 10.81.4 ॥

And , Dhirgatamas writes in his First Mandala, 140th Sukta, 12th mantra, that our whole life is not a journey in a single boat, we go in one boat, we finish the task, then take another boat, and do another task, then third boat, and so on. These are the voyages of the spirit, searching for Truth.

रथाय । नावम् । उत । नः । गृहाय । नित्यअरित्राम् । पत्वतीम् । रासि । अग्ने । अस्माकम् । वीरान् । उत । नः । मघोनः । जनान् । च । या । पारयात् । शर्म । या । च ॥ १.१४०.१२ ॥

He seems to lay much store by self-knowledge which, according to him, is the primary basis of all cognition. The sage indeed discards the evidence gathered by senses, because they are not always true witnesses; and are not infallible. The senses have a tendency to move ceaselessly in opposite directions. Men mark the one and fail to mark the other.

सतः । बन्धुम् । असति । निः । अविन्दन् । हृदि । प्रतीष्या । कवयः । मनीषा ॥अपाङ् । प्राङ् । एति । स्वधया । गृभीतः । अमर्त्यः । मर्त्येन । सयोनिः । ता । शश्वन्ता । विषूचीना । वियन्ता । नि । अन्यम् । चिक्युः । न । नि । चिक्युः । अन्यम् ॥१.१६४.३८ ॥

What things I am, I truly know not clearly. Mysterious, fettered in my mind, I wander aimlessly.

न । वि । जानामि । यत्इव । इदम् । अस्मि । निण्यः । सम्नद्धः । मनसा । चरामि । यदा । मा । आ । अगन् । प्रथमजाः । ऋतस्य । आत् । इत् । वाचः । अश्नुवे । भागम् । अस्याः ॥१.१६४.३७ ॥

The desire to determine the first cause of the universe was indeed very keen among the Vedic sages; and, it grew keener when sages like Aghamarsana, Prajapathi-Paramestin, Dhirgatamas, Brihaspathi attempted to trace this first cause to some primal material substance. Such enquiries bordering on skepticism were soon thereafter followed by mysticism

Prof. Beni-madhab Barua, in his monumental work: A History of Pre-Buddhistic Indian Philosophy (Motilal-Banarsidass-Delhi-1998) discusses the views, theories and speculations attributed to some Vedic seers; such as: Aghamarsana; Prajapati Paramesthin; Brahmanaspati; and, Dhirgatamas. Among these Kavis, the last mentioned – Dhirgatamas – is regarded as the most eminent thinker.

And, each of those thinkers came up with his own theory or speculation about the creation, evolution and development of the universe.

For instance:

Aghamarsana declared the Year (Samvatsara – the time-principle, the natural seasons) as the origin of all existence.
Prajapathi Paramesthin suggested Water (Salila) as elementary matter or the abiding ground of all things.
Another philosopher, Brahmanaspati called Air (Anila), the friend of water- as the first born, endowed with the generating principle.
Dhirgatamas maintained that all living beings rest and depend, ultimately, on the Sun.

As Prof. Radha Binod Pal observes: The one common feature in the Philosophy of these Rishis is that each one of them traces the evolution of this universe to some primal substance; to a substance that is active, self-causal; and that which is not determined by anything but by itself. This substance is the Natura Naturans (self-causing activity) ; and, this Universe is Natura Naturata (acted upon).

***

And, just to summarize Dr. Beni-madhab Barua’s elaborate discussions spread over many chapters:

Aghamarṣaṇa (अघमर्षण)

Aghamarṣaṇa (अघमर्षण) was the son of Madhucchandas, who was the son of Rishi Vishwamitra. He was renowned as a great hermit of austerity; as one who had observed the duties pertaining to Vanaprastha (the third of the four stages of life—forest hermit). (Mahabharata, Shanti Parva, Chapter 244, Stanza 16)

Aghamarṣaṇa is the seer of the Rig Veda hymn 10.190, which is famed as Bhava -Brita Sukta. It is said to endow purity and prosperity. It projects the Universe and Time as recurring cycles. He recognizes a reality, which is beyond Time and change. It is the Truth (Rita), which existed before Time.

ऋतं च सत्यं चाभीद्धात्तपसोऽध्यजायत । ततो रात्र्यजायत ततः समुद्रो अर्णवः । १ । समुद्रादर्णवादधि संवत्सरो अजायत । अहोरात्राणि विदधद्विश्वस्य मिषतो वशी । २ I सूर्याचन्द्रमसौ धाता यथापूर्वमकल्पयत् । दिवं च पृथिवीं चैवान्तरिक्षमथो स्वः । ३ ।

According to Aghamarsana, fervor (enthusiasm or dedication- तपसः) is the first creative principle from which the eternal order, harmony and truth were born (ऋतम् । च । सत्यम् । च । – Rita and Sathya).

ऋतम् । च । सत्यम् । च । अभीद्धात् । तपसः । अधि । अजायत । ततः । रात्री । अजायत । ततः । समुद्रः । अर्णवः ॥Rig.10.190.1

And, Ritam, the well-structured principle of the Universe, existed, in the opinion of Aghamarsana, even prior to diversity; just as the whole exists prior to its divisions. It is eternal; beyond time and change. The universe is a succession of events dotted along the time-less Rita.

It is said; the appearance of sun and moon; of day and night, is regulated; and this harmony, this ordering of everything in the universe is what the ancients named as Rita, the universal ordering principle.

From Rita and Sathya originated the night, which in its turn produced water; and from water originated Samvatasara or the Time principle.

Rishi Aghamarsana laid down a theory of creation, involving what is now known as the Doctrine of Time.

He speaks of the Year (Time-principle) as being the Lord, the Great Creator, Preserver and Destroyer of all things. He tells us that warmth (तपसः Tapas) is the first creative principle from which the Eternal Law and Truth (ऋतं च सत्यं) were born. From these was produced the Night (Tamas).

The Night produced water; and, from water originated the Year (Samvatsara) or the Time-principle. The Year formed, in due order, the sun and the moon; the heaven and the earth; the firmament and light; and ordained the days and nights. The year is the Lord of life and of death’.

समुद्रात् । अर्णवात् । अधि । सव्वँत्सरः । अजायत । अहोरात्राणि । विदधत् । विश्वस्य । मिषतः । वशी ॥ Rig.10.190.2

Time is the highest, the Lord of all. Time is the eternal substance out of which all things are formed; and in which everything lives, moves and has its being. Time is indeed supreme.

Prof. Radha Binod Pal writes:

The Aghamarshana Sukta, by giving us the genesis of the universe, imparted an idea of a supreme governing order of Truth and Truthfulness (ऋतम् । च । सत्यम्), reigning all over; and, encouraged man to follow the right and true path of virtue.

ऋतम् । च । सत्यम् । च । अभीद्धात् । तपसः । अधि । अजायत । ततः । रात्री । अजायत । ततः । समुद्रः । अर्णवः ॥ (RV.10.190.1)

But; his is an exceedingly short thesis from which nothing, by way of a clear statement, can be elicited. It is difficult to clearly ascertain his own philosophical position. Nor do we know either what led him to speak of the Year as being the Lord, Great creator, Preserver and Destroyer of all things.

It is said; for this purpose, we need to look through some of the older Cosmogonic Hymns. which may have constituted the immediate background for Indian philosophy; and, as well as through some of the latter Brahmana-texts.

But; Aghamarsana plainly tells us that warmth (Tapas) – Creative Fervour – the first creative impulse (which in the later came to be named as Kama, the intense motive force changing universe), — is the first creative principle from which the eternal law and truth (Rita) were born. From these was produced the Night (Tamas), which in its turn produced water; and, from water originated Samvatasara or the Time principle.

This Samvatsara produced in due order: the Sun, the Moon, the heaven, the earth, the firmament and light. And then originated, what we call, the days and nights. This Samvatsara is the Lord of Life and Death.

[Prof. Radha Binod Pal remarks : Though Rishi Aghamarṣaṇa declared Samvatsara, the Time-principle, as the eternal substance out of which all things are formed; he did recognize a reality beyond time and change. And, this reality is Rita – the order, harmony and truth that governs the Universe. ऋतम् – Rita existed before ‘Time’.

The appearance of sun and moon, of day and night, is regulated; and this harmony, ordering of everything in the Universe is by ऋतम् .

The Rishi seems to be running round in circles.]

[ In the hymns of the Atharva Veda, the Year (Samvathsara) was replaced by the general term Kala, the Time. But, the basic doctrine of Time was retained. Further it was glorified by saying: Time is the endless cycle of existence. It is the eternal substance out of which all things are formed, and in which everything lives, moves and has its being. Time is indeed God supreme.

Time is described as a thousand-eyed and ageless; an eternal observer, unbound by the constraints of impermanence; and ceaselessly growing across manifold universes.

A profound infinite expansiveness, generating multiple realities. How can anyone and decipher its enigmatic nature ?

Time is compared to a horse:

का॒लो अश्वो॑ वहति स॒प्तर॑श्मिः सहस्रा॒क्षो अ॒जरो॒ भूरि॑रेताः। तमा रो॑हन्ति क॒वयो॑ विप॒श्चित॒स्तस्य॑ च॒क्रा भुव॑नानि॒ विश्वा॑ ॥AV. 19.53.1॥

Kaala, or Time is a horse that carries seven rays, a thousand-eyed, ageless entity brimming with abundant Vigor. The wise continually seek to ascend it. Its wheels are the entire cosmos, containing all the worlds.”

Time again is compared to a chariot having seven wheels:

स॒प्त च॒क्रान्व॑हति का॒ल ए॒ष स॒प्तास्य॒ नाभी॑र॒मृतं॒ न्वक्षः॑। स इ॒मा विश्वा॒ भुव॑नान्यञ्जत्का॒लः स ई॑यते प्रथ॒मो नु दे॒वः ॥AV. 19.53.2॥

Time, carrying the seven wheels, has seven naves and an immortal axle. It generated all these different worlds. Time, the first among deities, moves forward.

Time’s ever flowing dynamic nature is depicted through the analogy of full pot (Purna-kumbha) that never empties. It is a lively, ever-shifting entity, much like a pot filled with swirling water.

पू॒र्णः कु॒म्भोऽधि॑ का॒ल आहि॑त॒स्तं वै पश्या॑मो बहु॒धा नु सन्तः॑। स इ॒मा विश्वा॒ भुव॑नानि प्र॒त्यङ्का॒लं तमा॒हुः प॑र॒मे वYaमन् ॥AV. 19.53.3॥

Time is placed in the full pot (cosmos). We observe it from various perspectives. It has produced all these different worlds. Time, they say, is situated in the highest heaven.

Time is seen as the ultimate power, unrivalled by any other force, emphasizing its crucial role in the structure, function, and very existence of the universe. It invites us to envision Time as a metaphysical concept that surpasses conventional human understanding of past, present, and future.

स ए॒व सं भुव॑ना॒न्याभ॑र॒त्स ए॒व सं भुव॑नानि॒ पर्यै॑त्। पि॒ता सन्न॑भवत्पु॒त्र ए॑षां॒ तस्मा॒द्वै नान्यत्पर॑मस्ति॒ तेजः॑ ॥AV. 19.53.4॥

Time alone upheld all the worlds, and it alone encircles them. It became the father, yet is the child of these worlds. Therefore, indeed, there is no energy greater than it.

Time governs everything; and envelops within it everything it administers .

का॒ले मनः॑ का॒ले प्रा॒णः का॒ले नाम॑ स॒माहि॑तम्। का॒लेन॒ सर्वा॑ नन्द॒न्त्याग॑तेन प्र॒जा इ॒माः ॥AV. 19.53.7॥

Within Time is the mind; within Time is the breath; within Time is all names gathered. By Time, all these beings rejoice as they arrive.

Time directs all existence, growth, and enlightenment. Time was there even before gods, wisdom or seers.

का॒लः प्र॒जा अ॑सृजत का॒लो अग्रे॑ प्र॒जाप॑तिम्। स्व॑यं॒भूः क॒श्यपः॑ का॒लात्तपः॑ का॒लाद॑जायत ॥AV. 19.53.4॥

Time created life. Time was there before the gods. Knowledge and austerity were born from Time.]

Prajapati Paramesthin (परमेष्ठिन्)

Another ancient philosopher Prajapati Paramesthin (परमेष्ठिन्) – a much respected spiritual master and teacher – according to Dr. Beni-Madhab Barua (A History of Pre-Buddhist Indian Philosophy- pages 12 to 16 – Motilal Banarsidas-1921), theorized that in the beginning , Being came out of Non-Being (Asatah sad ajyata). He said; That original matter or primitive substance comes neither under the definition of Being nor under that of Non-Being

Further, he asserted that Water (Salila) is the fundamental Principle. It is from Water, all things are formed; and, Water is the original substance of all that exists. It was the unfathomable depth of water (gahanam gambhiram). And, there was nothing but water. Water is the elementary matter or abiding original ground of things. Water is the original substance of all that exists.

[Paramesthin started his inquiry with water; but, did not extend it beyond water. He insisted that it was From Water all things are formed; Water is the original substance of all that exists. He took a rigid stand; and did not push his investigation beyond water.]

He asserted that whether one knows it, or does not know it (Veda-yadi va na-Veda), when there was neither Non-existence nor Existence; when there was neither death nor immortality; and, when there was no visible sign to distinguish between days and nights, (that is to say, between light and darkness) — Nasid rajo no vyoma na tarhi na ratrya ahna asith praketah – then there was Water, the unfathomable depth of water (Gahanam Gambhiram); and, there was nothing but water.

न । असत् । आसीत् । नो इति । सत् । आसीत् । तदानीम् । न । आसीत् । रजः । नो इति । विओम । परः । यत् । किम् । आ । अवरीवरिति । कुह । कस्य । शर्मन् । अम्भः । किम् । आसीत् । गहनम् । गभीरम् ॥ १०.१२९.०१ ॥

“Water was that one thing, breathless; breathed by its own nature (Anidavatam svadhaya tad ekam, tasmad-dhyanan na parah kimcan nasa ). There was darkness (Tamas); and, concealed at first in this darkness was Water in its indiscriminate or unmanifested form (apraketam). Water was all that existed (sarvama idam).”

तमः । आसीत् । तमसा । गूळ्हम् । अग्रे । अप्रकेतम् । सलिलम् । सर्वम् । आः । इदम् । तुच्छ्येन । आभु । अपिहितम् । यत् । आसीत् । तपसः । तत् । महिना । अजायत । एकम् ॥१०.१२९.०३ ॥

[ Mahidasa says: The material cause of the world is water. All this was water indeed. It was the root; and, world was the shoot. He is the father, the earth, fire, &c. are the sons. Whatever there is belonging to the son, belongs to the father; whatever there is belonging to the father, belongs to the son. AA.2.8.2)

Prajapathi causes the world; the world causes water; the water causes life; life begets herbs and living creatures; the manas is the heart of thinking creature; it causes thinking mind; the thinking mind expresses through thoughtful speech; the thoughtful speech leads to thoughtful action; and the thoughtful action is in reality the man (Purusha), the abode of Brahman” (AA 1.3.4.9)]

Water, according to Prajapati Paramesthin, transformed itself into particular things by some inherent principle to which he gave the name Kama, the Cosmic Desire (or, the will to create or the will to be).

Kama, the Cosmic-urge, according to him, was the motivator of the movement or development that is inherent in matter itself; and, it is integrated into the endless progressions and processes of nature.

While everything was void and shapeless; by the power of Warmth , was born that longing called Kama. And; Kama was the motive force of the changing universe — the first germ of Mind (manaso retah), and this Mind was no other than the Sun “whose eye controls this world in highest heaven,”

Accordingly, for him, the principle of movement or development is inherent in matter itself; and involved in this is the vast processes of nature.

Water then transformed itself into particular things by the inherent principle – Kama, the Cosmic Desire. The sages having meditated in their hearts, discovered, by their wisdom, the relation of the existent with the non-existent. And, they said, this Mind of the Supreme Being was no other than the Sun “whose eye controls this world in highest heaven. ”

कामः । तत् । अग्रे । सम् । अवर्तत । अधि । मनसः । रेतः । प्रथमम् । यत् । आसीत् । सतः । बन्धुम् । असति । निः । अविन्दन् । हृदि । प्रतीष्या । कवयः । मनीषा ॥१०.१२९.०४ ॥

Prajapati Paramesthin gives his theory of creation; thus:

There was nothing in the beginning; neither Sat nor A-Sat; neither the existent nor the non-existent, neither the being nor non-being; nothing beyond the great One, the pure abstract immovable being having no beginning nor end, but always indivisible and perfect.

न । असत् । आसीत् । नो इति । सत् । आसीत् । तदानीम् । न । आसीत् । रजः । नो इति । विओम । परः । यत्। किम् । आ । अवरीवरिति । कुह । कस्य । शर्मन् । अम्भः । किम् । आसीत् । गहनम् । गभीरम् ॥ Rig.10.129.1

Death was not then; nor was there immortality: no sign was there of the days and nights; That One Thing, breathless, breathed by its own nature: apart from it was nothing whatsoever.

न । मृत्युः । आसीत् । अमृतम् । न । तर्हि । न । रात्र्याः । अह्नः । आसीत् । प्रकेतः । आनीत् । अवातम् । स्वधया । तत् । एकम् । तस्मात् । ह । अन्यत् । न । परः । किम् । चन । आस ॥ Rig.10.129.2

There was darkness covered by darkness in the beginning, all this (world) was undistinguishable water; that empty united (world) which was covered by a mere nothing, was produced through the power of austerity

तमः । आसीत् । तमसा । गूळ्हम् । अग्रे । अप्रकेतम् । सलिलम् । सर्वम् । आः । इदम् । तुच्छ्येन । आभु । अपिहितम् । यत् । आसीत् । तपसः । तत् । महिना । अजायत । एकम् ॥॥ Rig.10.129.3

Thereafter arose the intense desire (कामः – Kama), the first seed of the mind {manaso retah), the germ of the spirit or the first creative impulse. The sages who searched within their hearts discovered, by their wisdom, the relation that binds the existent with the Non-existent.

कामः । तत् । अग्रे । सम् । अवर्तत । अधि । मनसः । रेतः । प्रथमम् । यत् । आसीत् । सतः । बन्धुम् । असति । निः । अविन्दन् । हृदि । प्रतीष्या । कवयः । मनीषा ॥ ॥ Rig.10.129.4

Who truly knows; and who can here declare it, when this creation came into being. it was born and whence comes this creation? The gods, that we know, are later than this world’s creation. When such is the case, who then knows, with certainty, when all of this first came into being; from what material cause, and from what creative cause, did it arise?

कः । अद्धा । वेद । कः । इह । प्र । वोचत् । कुतः । आजाता । कुतः । इयम् । विसृष्टिः । अर्वाक् । देवाः । अस्य । विसर्जनेन । अथ । कः । वेद । यतः । आबभूव ॥ Rig.10.129.6

He, from whom we believe this creation arose, whether he formed it all or did not form it? No one knows. Whether he knows or perhaps even he may not know at all. If he knows not no one else does.

इयम् । विसृष्टिः । यतः । आबभूव । यदि । वा । दधे । यदि । वा । न । यः । अस्य । अधिअक्षः । परमे । विओमन् । सः । अङ्ग । वेद । यदि । वा । न । वेद ॥Rig.10.129.7

Prof. Radha Binod Pal explains:

The Sage Paramesthin not only differs from Aghamarṣaṇa but even goes a step further. He does not rest content with describing merely the process of creation, but sings of the force impelling towards the same. He said; It was Kama the impulse behind everything that followed.

The difference between the two sages is indeed fundamental. They disagreed as to where to seek for the root principles of the things and of knowledge: Aghamarṣaṇa sought for it in the object, something extraneous; while Paramesthin found it in the mind, in the world of thought.

Paramesthin declared : there was nothing in the beginning; neither Sat nor A-sat; neither the existent nor the non-existent; there was nothing beyond the great the pure abstract immovable being having no beginning nor end, but always indivisible and perfect.

The sage seems at times to be given to skepticism; and yet we find him already conscious of the need of faith and as such tending to mysticism. The position assumed by him is indeed that of a naturalist, and his conception of nature was entirely dynamic. To him the principle of movement for development is inherent in matter itself.

The world evolves from this immanent energy of nature – स्वधया, and the movement as a whole is self-determined.

Yet; the problem must remain unsolved: the origin must remain unknown.

But is it knowable at all? ! !

यो अस्याध्यक्षः परमे व्योमन्त्सो अङ्ग वेद यदि वा न वेद

In the philosophy of this Rishi, again, we can trace the Vedic conception of evolution. Progress in the universal evolution of entities is the divergence from the simple to the complex, from formless homogeneity to varied heterogeneity, accompanied by the greatest similarity and profoundest correlation of parts.

The philosopher expresses this by saying that from the one, the complete whole, before the existence of any sub-divisions of the great unit, there came a division and separation of parts, which tend to develop into distinct and concrete units or wholes developed to their fulness. The philosophy of this Rishi indeed evinces that noble illumination of human soul which brought into religion a perception of the unity of God and of the consequent brotherhood of mankind.

Brahmaṇaspati (ब्रह्मणस्पति)

Brihaspati is mentioned in the Vedas as ‘Lord of prayer or the Vedas’; a Vedic deity. Subsequently he became one of the nine planetary deities (Navagraha) representing the planet Jupiter (Guru). He is also known by other names, such as: Jiva, Dhishanaand, Animisha-acharya, Brahmanaspati, Purohit, Angirasa, etc. He is also said to control the clouds and rain; and thus help the world by bringing to life and protecting vegetation. Some to believe that Brahmaṇaspati is another name for Brhaspati, the preceptor of the gods (Deva-Guru).

Dr. Barua states : Brahmaṇaspati , the author of Riks in Rigveda .10.72 , stated his views about the origin of the world. However, the hymn must be considered as one of the most unintelligible; and it would be vain to attempt to bring out anything very definite from it.

It is indeed difficult to understand Brahmaṇaspati’s theory of the birth of Sat (Being) from A-sat (Non-Being).

Yet; it could be said that he set himself the task to inquire into the nature of the world; and its condition prior to the generation of heavenly beings and all the elemental forces.

Generally, he tells that Being was born out of Non-Being. But he does not clearly explain what he meant by Being or Non-Being. We may, however, surmise that Brahmaṇaspati meant to mean Non-Being as the fundamental principle (Rita) that governs the universe.

As per the philosopher Brahmanaspati; The universe was at first non-existent. There was neither the heaven nor the earth, nor the mid-air. What we call as the Existence originally sprang from the Non-existent; and, evolves further on its own accord. That was his fundamental proposition.

देवानाम् । पूर्व्ये । युगे । असतः । सत् । अजायत । तत् । आशाः । अनु । अजायन्त । तत् । उत्तानपदः । परि ॥ Rig.10.72.3

He argued that the principle of movement or development is inherent in matter itself; and, it is part of the vast processes of nature.

In other words, the world evolves from its inherent energy (स्वधया – Svadhaya); the movement as a whole is self-determined and self-regulated.

Brahmaṇaspati begins with the promise that he would give us the particulars of the origin of gods, who are much praised in hymns of the Vedas.

देवानाम् । नु । वयम् । जाना । प्र । वोचाम । विपन्यया । उक्थेषु । शस्यमानेषु । यः । पश्यात् । उत्तरे । युगे ॥ Rig.10.72.1

Before the gods were born, the existent emerged out of the non-existent

– देवानाम् । पूर्व्ये । युगे । असतः । सत् । अजायत ॥ Rig. 10.72.2

The earth sprang out of the productive power moving upwards. The regions (quarters) came to be recognized with reference to the earth

– भूः । जज्ञे । उत्तानपदः । भुवः । आशाः । अजायन्त। – Rig.10.72.4

There is much discussion about Aditi. The scholars surmise that the term Aditi, in a way, stands to symbolize the Infinite – the source of all that came into being – the endless expanse beyond the earth, beyond the clouds, beyond the sky.

Prof. Radha Binod Pal explains:

Aditi is an ambiguous term of which we have not a precise explanation from Brihaspati. It is not possible to say with certainty what really was Brihaspati’s Aditi. There is a great deal of controversy over the real meaning of this term and it must be confessed, it is difficult to ascertain the import which he wanted to assign to it. Aditi could perhaps be the earliest name invented to express the visible Infinite, beyond our reach.

Then comes the concept of Anila (Air, Vayu).

Rishi Brahmanaspati, said : In the beginning, there was darkness covered by darkness. All this world was then was void and formless. And, by the great power of warmth was born the world.

He called Air (Anila) as the monarch or ruling force of the universe (Bhuvanasya-raja). He called Air the friend of water; अपाम् । सखा । प्रथमजाः— the first born, endowed with the generating principle.

He said; that the Anila travels, without rest or sleep, on the paths of the firmament. Air is the soul or vital spirit of the gods; in air lies the origin of the Universe; Air wanders ever as it lives.’

आत्मा । देवानाम् । भुवनस्य । गर्भः । यथावशम् । चरति । देवः । एषः । घोषाः । इत् । अस्य । शृण्विरे । न । रूपम् । तस्मै । वाताय । हविषा । विधेम ॥ Rig.10.168.4

Air has no visible form (न रूपं तस्मै वाताय हविषा विधेम). But it has a voice that whispers and gently breezes. it roars as thunder. Its voice is heard; and, by its touch, its existence is made known to us.

अन्तरिक्षे । पथिभिः । ईयमानः । न । नि । विशते । कतमत् । चन । अहरिति । अपाम् । सखा । प्रथमजाः । ऋतवा । क्व । स्वित् । जातः । कुतः । आ । बभूव ॥ Rig.10.168.3

[Mahidasa says: A whispered voice is just breath; but when it is aloud it acquires a distinct form or a body (sarira). The whispered speech is the latent or the underdeveloped form of clear speech. Going further backward, the whispered speech is loud breath which in turn is an expression of formless breath. When spoken aloud, the formless breath transforms into clear perceptible speech.

Speech in this case is a kind of form. Breath is the root of speech. Similarly, going backward, breath is a form of air. Thus, going backward in successive steps we may arrive at the first or pure matter which may be entirely be devoid of form, indeterminate or in- cognizable by itself.

It is said; the Vedas describe more than 45 kinds of winds.]

Brahmanaspati said that the Vital breath (Vata or Prana) is the controlling power of all that we perceive. It is the Lord of all; and, in it resides everything. On the vital breath everything rests. Pranoha sai vasyeavaro yaera praniti yacca na.

The vital breath, clothes all the creatures, as a father his dear son.

Pranaya namo yasya sarvain idam vaso, yo bhuta sarvasyesvaro yasmin sarvah prathistitam.” Athavva-veda, XI. 6. 1.

In the context of the Universe, it could be called as Air (Vata) or wind (Matarisvan, Air in motion).

It is in obedience to the thundering voice of the Vital breath that the plants are fertilized, that they conceive and multiply. When the season arrives, the vital breath causes the rejoicing of whatever is upon the earth. It is when the vital breath waters the earth with rain that the plants and all kinds of herbs spring forth. The vital breath clothes the creatures, as a father his dear son. The vital breath, indeed, is the Lord of all, — of all that is animate or inanimate.

It is the guiding power (Virat destri), it is the sun and moon, and the Lord of beings (Prajapati).

But, as to a human, it denotes in-breathing (Prana); the opposite of which is called down-breathing (Apana).

[ Mahidasa recognizes that spirit or the agent which continually causes changes, as prana, or the living principle of the universe, the pure vital energy and activity. He regards that vital principle (prana) by which virtue of which we keep changing and function as living organisms, as the soul (atman). The organisms are kept alive by the vital air.

Therefore, the central or the fundamental function of an organism is breathing or respiration. For, even during sleep when all sensations and mental activities cease, the process of life, its vital air (prana) goes on all the while.]

Without doubt, Air is the substance that a man breathes in (inhales) and also breathes out (exhales) even while in the womb, and it is when the vital breath quickens the embryo that it is delivered forth.

While a man sleeps, the function of breathing is carried on ceaselessly. It is therefore said that a man sleeps while the breath keeps guard over his vitality without sleep or rest. All that is (Bhuta) and all that will be (Bhavishya), truly, are supported upon the vital breath. But; the vital breath is also death; it is fever (takman).

Death occurs when the vital breath (prana) departs from the body. Indeed, it is the vital breath that is the Lord of all, — of all that is animate or inanimate.

[ But, from where does this “Anila ” come forth? What is its source? However, Brahmanaspati did not attempt-to offer a solution to this main problem. He merely said -the Air by itself came into being.]

[For more on these and other issues, please do read Dr. Beni-madhab Barua’s great work (A History of Pre-Buddhist Indian Philosophy- pages 8 to 30 -Motilal Banarsidas-1921)

And

Tagore Law Lectures 1930 – The History Of Hindu Law by Prof Radha Binod Pal; University of Calcutta – 1958]

***

In the subsequent instalments of this series , let us talk a little more about Dhirgatamas and his Asya-Vamiya-Sukta , which is one the most philosophical , but rather enigmatic Suktas (hymns) of Rig Veda ,deserving greater attention.

CONTINUED

IN THE

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REFERENCES

Sri Gayatri – Part one

07 Oct

The Rishi , The Chhandas and The Devata

Tat savitur varenyam

Bhargo devasya dheemahi

Diyo yonah prachodayat

We meditate on the adorable glory

of the radiant Savitr,

May he inspire our intellect

***

1 .1. Gayatri Mantra that is recited daily by millions of devotees is indeed very ancient; and , is regarded as the most sacred of all the mantras. The tradition accords the Gayatri unrivaled importance.

1.2. Gayatri is a mantra dedicated to Savitr; and, is not a prayer in the ordinary sense of the term. A mantra – a specific structure of sound patterns coded in syllables and vowels – may be articulate or inarticulate; it may or may not convey a meaning. But, its relevance is in its inherent shakthi. Its subtle sounds or the abstract language which attempts to visualize the un-differentiated divine principle. The accent, intonation and articulation too play a role in the efficacy of a mantra.

And, Mantra is neither a magical formula, nor is it a logical sentence; it connects in a very special way to the objective and subjective aspects of reality. The term Mantra is explained as mananat trayate mantrah; the contemplation of which liberates. It is the harmonious and powerful union of mind (Manas) and word (Vac). It is the living sound, transcending beyond the mental plane. The fruitfulness of a mantra depends upon the authority of the teacher who imparts it and the spiritual preparedness of the student who is initiated (Diksha) into it. It has to be grasped in humility, earnestness and faith.

A prayer, prarthana, is a submission (Atma-nivedana) ; and, it has a meaning and a philosophical significance. Prarthana has an intellectual appeal. Mantra is beyond intellect.

Gayatri, it is said, is both mantra and prarthana; a profound invocation. It has the intrinsic shakthi of mantra; as also the intense devotion and reverence of prarthana. It signifies a determined aspiration for enlightenment.

1.3. Gayatri is essentially symbolic (sanketa vidya), inspiring righteous wisdom. It points to the absolute reality (Brahman) conditioned by names and forms (nama, rupa) as settled in solar orb, the visible form of divinity. The mantra formulates the nature of oneself and also the nature of Brahman, the supreme Consciousness (para-brahma nirupanam).

The name

4.1. Brihadaranyaka Upanishad (5.14.5) mentions that the mantra in Gayatri Chhandas dedicated to Savitr-Devata was initially known as Savitri mantra. It says: ‘the people were calling that mantra , which was composed in Gayatri Chhandas, as Savitri’ (Gayatrim-eva Savitri-manu-bhruyaath), because it was addressed, in particular, to Savitr (Savitr iyam).

Another authority, Manu (2.77 and 2.81), also names the mantra as Savitri; and avers ‘there is no mantra that is superior to Savitri’ (sāvitryās tu paraṃ na-asti maunāt satyaṃ viśiṣyate: Manu – 2.83c).

Other texts (for e.g. Maitri Upanishad: 6.2) too declare that ‘Savitri mantra with Pranava and Vyahrti is the best means (na savitrah paro mantrah) to attain Brahman’.

iṃmayo veti iadaṃ vā va tatpuṣkaraṃ yo’yamākāśo’syemāḥ catasro diśaścatasra upadiśo dalasaṃsthā āsamarvāgvicarata etau prāṇādityā etā upāsitom ityetad-akṣareṇa vyāhṛtibhiḥ sāvitkryā ceti ॥ 6. 2॥

4.2. It is said; in course of time, the Savitri mantra came to be celebrated as Gayatri mantra because of its structure in classic Gayatri chhandas. The Savitri-mantra, it is believed, articulates, as few other mantras do, the special merits of the Gayatri-chhandas.

5.1. The name ‘Gayatri’ – as the title of the mantra – acquired several meanings. It is explained that the term Gayatri is derived from the root ‘traing’ (paalana) which means ‘to protect’. Expanding on that explanation, Chandogya Upanishad says: ‘This mantra called Gayatri in Gayatri-chhandas protects one who chants it. That is why it is called Gayatri’ (Gayatri trayate cha– Ch.Up.)

Satapatha Brahmana (14.8.15.7) in a similar manner explained Gayatri as that which protects (tattre) sense-faculties (including mind) and the life-principles (prana) which are called ‘gaya’: (prana vai gayaasthan trayati- tasmat Gayatri).

sā haiṣā gayāṃstatre prāṇā vai gayāstatprāṇāṃstatretadyadgayāṃstatre tasmād-gāyatrī nāma sa yāmevāmūmanvāhaiṣaiva sā sa yasmā anvāha tasya prāṇāṃstrāyate

5.2. It is said; Gayatri is itself the prana; and, in prana reside all the Devata-s, the energies and activating faculties. And thus; all knowledge, action and the consequences thereof become united in Gayatri. Being prana, Gayatri is the very self of all existence (jagatah atma).

5.3. Yaska-charya explains the term Gayatri by changing the order (sequence) of its syllables (Varna –vyatyaya). He says that Gaya-tri, in fact, could as well be read and understood as tri-gaya, as having three modes of articulation body (rupeshu), speech (vachasi) and mind (manasi) –

gāyatrī. gāyateḥ. stuti. karmaṇas, .tri. gamanā.vā.viparītā (7,12); trigamana trishu rupeshu, manasi, vachasi vipushi cheti gamanam gatim dadati sa .

That is to say; Gayatri inspires or finds expression in our mental process, speech , behavior and physical activities.

5.4. But , largely, the term Gayatri has acquired the meaning ‘as that which protects the one who recites it mindfully (gayantam trayate yasmad gayatri smarata budhaih)’. There is a firm faith that Gayatri protects the devout from various evils and sins.

Therefore, Gayatri mantra became a vital part of the daily prayers known as Sandhya. Not merely that; the Gayatri mantra became so important that its recitation by itself came to be known as Sandhya. That is because, it is explained, Gayatri mantra merits ‘perfect meditation’ (samyak dhyanavat sandhya).

[There is another rik in the fifth mandala of Rig-Veda Samhita (RV_5,082.01) that strongly resembles Gayatri mantra. Its Rishi is Syavasva-Atreya (also called Syavasva Archanasa, meaning the son of Archanas); its Devata is also Savitr; and it is in Anushtup chhandas. Anukramani, the Vedic glossary, describes it as ‘the other Savitri’ (ity uktatvat savitram)

‘tat savitur vrnīmahe vayam devasya bhojanam | śrestham sarvadhātamam turam bhaghasya dhīmahi ||

We crave of Savitar the God this treasure much to be enjoyed. The best, all-yielding, conquering gift of Bhaga we would gladly win

(Translation by Ralph T H Griffith)]

The Rishi

6.1. Rishi in the Rig-Vedic context is an illumined wise seer; an author of a Rik – a mantra expressing the Truth revealed to him. It is not a product of his reasoning or intellect, but of an intuitive perception. And according to Yaska, those who envisioned the mantras (mantra-drastarah) are Rishis (ṛṣir. darśanāt. stomān. dadarśa – Nirukta 2.11).

A Rishi is therefore a wise seer, a Drastara, one who visualizes a mantra. He is also the one who hears. The seers were the “hearers of the Truth” (kavayaha sathya srutah).

Sri Aurobindo described Shruthi as “divine recordings of cosmic sounds of truth” heard by the Rishis. The Vedas are thus Shruthis, revealed scriptures. That is the reason; the Vedas are Apaurusheya, not authored by any agency.

[Patanjali , while commenting upon Panini’s Ashtadhyayi makes a distinction between the expression tena proktam (4,3.101) which suggests that it was revealed by him; and the expression pūrvaiḥ kṛtam (4,4.133) which means that it was composed or authored by him. The general idea is that a mantra is not composed by a Rishi ; but it is revealed to him by intuitive perception.].

The term Rishi is defined as “rishati jnānena samsāra-pāram” , meaning one who goes beyond the mundane world by means of knowledge. Further, some scholars think the root ‘drish’ (sight) might have given rise to root ‘rish’ meaning ‘to see’. That is to say; the Rishi is one who envisioned the entities beyond the range of human senses, conceived the self evident knowledge (svatah pramana) and realized the Truth by direct intuition.

Vamadeva, a Rishi in one of his hymns (RV 4.3.16) describes himself as the illumined one, expressing the Truth revealed to him (ninya vachasmi).

The Sanskrit lexicon Amarakosha (2.7. 43) also says that one who speaks the Truth is Rishi (Rishyah satya-vachasah). A Rishi in the Rig Veda is a sage who realized the truth

Further, it is also said; a Kavi is the most exalted Rishi. And, one cannot be a Kavi unless one is a Rishi (naan rishir kuruthe kavyam). It is his intuition (prathibha) and expanded consciousness that inspire him to express spontaneously. Such inspired poetry raised to sublime heights is mantra.

Such a Kavi is a Drastara, a visionary (darsanat), the one who sees the unseen (kavihi-krantha-darshano-bhavathi). Katyayana and Yaska describe a Rishi in similar terms: Rishis are visionaries says Katyayana (Drastara rishayah smartarah);). According to the Brhad-devata attributed to Saunaka, a Rishi is one who has direct experience of the Reality (Rishibis tattva darshabihi – Brd- introduction -10) .

6.2. The Rishi not only gives utterance to a mantra but is also at the very essence, core of the mantra . The Rishi or the Kavi, through his all-pervasive consciousness becomes one with his creation. Yaska-charya, therefore, speaks of close empathy, unison between the creator and his creation; and says that each tends to become a part of the other. In the later Samhitas, the Rishi-s came to be revered as icons of the sacred past; and their deeds were narrated as if they were the deeds of gods or of Asura the ancient ones.

6.3 However all sages are not Rishis; just as not all Rishis are Kavis. Yasca charya makes a significant classification even among the Rishis. He draws a clear distinction between a Sakshath-krutha-Rishi, the seer who has the direct intuitional perception; and the Shrutha-rishi, the one heard it from the seers and remembered what he heard.

The Srutha-rishi is like the mirror or the moon that basks in the glory of the sun. The moon and the mirror both take in the glory of the sun and put forth the shine to the world in their own way. Similarly, the Srutha_rishi obtained the knowledge by listening to the Sakshath- Krutha-Rishi, and more importantly by remembering what he heard.

The bifurcation of the Vedas/Upanishads on one hand (as Shruthi, as heard) ; and the Vedangas, Shastras, Puranas, Ithihasa etc. on the other (as Smriti, as remembered) , stems from the above concept. Smriti, in general, is secondary in authority to Shruti.

[Baudhayana Dharma sutra ( 2.5.9.14-1) gives a list of different types of Rishis to whom the tarpanas (oblations) are to be offered (tarpayāmi): Sruta Rishi (One who hears from his teachers); Kanda Rishi (one who masters a section, Kanda , of a text); Tapa Rishi (one who is engaged in severe austerities); Satya Rishi (one who is intensely committed to what is Truth); Deva Rishi (a Rishi of divine nature); Saptarishi (one among the seven great sages); Maha Rishi (exalted and revered Rishi); Parama Rishi (Supreme Rishi); Brahma Rishi (one who has realized Brahman); Raja Rishi (a sagely king) ; and, Jana Rishi (a sage among the society).

In addition it also mentions ṛṣikāṃs (female Rishis); ṛṣi.patnīs (wives of the Rishis); ṛṣi.putrāṃs (sons of the Rishis) ; and, ṛṣi.pautrāṃs (grandsons of the Rishis).]

Gayatri appears before Visvamitra

7.1. The sixty-second Sukta (RV_3,062), commencing with the rik : imā u vām bhṛmayo manyamānā yuvāvate na tujyā abhūvan, is the last in the third mandala of Rig-Veda. This Sukta has eighteen mantra-s; and, the entire Sukta is ascribed to Rishi Visvamitra.

The first three mantras of this Sukta are in Trishtup-chhandas; while the rest are in Gayatri chhandas.

Of the eighteen mantras, those numbering ten to twelve are dedicated to Savitr; while the other mantras have Indra- Varuna, Brhaspathi, Pushan, Soma and Maitra-varuna as the Devata-s.

7.2. It is the tenth mantra of this Sukta (RV_3,062.10) – tat savitur vareṇyam bhargo devasya dhīmahi |dhiyo yo naḥ pracodayāt || – that has come to be celebrated as Gayatri mantra. As said earlier; it is in Gayatri Chhandas; its Devata is Savitr; and its Rishi is Visvamitra.

8.1. Visvamitra is a celebrated name in the Indian traditions. There have been sages in the Vedic literature, in Puranas and in Epics who carry the name of Visvamitra. It is surmised; all those sages may not refer to one and the same person. They could be the descendants of an ancient Rishi renowned as Visvamitra.

8.2. Visvamitra mentioned in Rig-Veda is a great Rishi. As many as forty-six Suktas and a number of other mantras in Rig-Veda Samhita are ascribed to Rishi Visvamitra. He is the contemporary of another great sage Vashista, to whom about one hundred – and – four Suktas are ascribed.

8.3. Visvamitra of Rig-Veda is named in the Sarva-Anukramani (a sort of Index providing basic information about each hymn of Rig-Veda) as ‘Gathino-Visvamitrah’– the descendant of Gathi (the King of Kanyakubja?). Visvamitra – earlier known as Visvaratha – it is said, was the son of King Kaushika-Ushiratha (meaning, Ushiratha the son or the descendant of Kushika) who was valorous as the thousand-eyed Indra himself (sahasraksha-dyuti).

8.4. The Visvamitra and his sons mentioned in several other passages of the Rig-Veda are also described as Kausika-s, the descendants of Kushika. This Kushika is a mythical figure. And the term Kushika is also an epithet for Indra. The decedents of Kushika – Kaushika – were a family of traditional purohita-s, the family priests of Kings; and, were the followers of sage Angirasa, especially devoted to worship of Indra.

8.5. Yaska-charya recognizes Visvamitra as the purohita of King Sudasa (viśvāmitra.ṛṣiḥ.sudāsaḥ.paijavanasya.purohito.babhūba– Nirukta: 2.24).

It is said; Visvamitra also helped Bharatas in crossing the rivers Vipasa (Beas) and Satadru (Sutlej) that were in full flow .The Bharatas, apparently engaged in a raid, found it difficult to cross the rivers in high flood. But, Visvamitra, by prayers, induced the waters to subside (RV: 3.121) – viśvāmitrebhir idhyate ajasraḥ.

8.6. Among the many sons of Visvamitra, Madhuchandas Vaiśvāmitra is well known. The first mantra of Rig-Veda (Agni mele purohitam…) is ascribed to Madhuchandas. He is the Rishi of the first hundred-and-two mantras of Rig-Veda; and, hence he earned the title ‘Satarchina’.

8.7. But the most debated of Visvamitra’s decedents is surely Sunahsepa. A story narrated in Aitareya Brahmana (7.13-18) brings together Visvamitra and the lad Sunahsepa Ajigarti (son of the poor and greedy Ajigarta Sauyavasi). It is said; Visvamitra adopted Sunahsepa Ajigarti as his son; or rather, the boy gave up his family and selected Visvamitra as his father. The later text Vasishta Dharma- sutra (17.33-35) cites this as an example of a case where a boy gives himself in adoption.

svayam upāgatas caturthas //śunaḥśepas vai yūpe niyuktas devatās tuṣṭāva(stu-) / tasya iha devatās pāśam vimumucus(vi-muc-) tam ṛtvijasūcus(vac-) mama eva ayam putras astu(as-) iti tān ha na saṃpede(sam-pad-) / te saṃpādayāmāsus(sam-pad-) eṣas eva yam kāmayet(kam-) tasya putras astu(as-) iti / tasya ha viśvāmitras hotā āsīt(as-) tasya putra-tvam iyāya(i-) – Va.17.34-35

Another text, Bahudayana Dharma-Sutra (mātā.pitṛ.vihīno yaḥ svayam ātmānaṃ (dadyāt sa svayaṃ.dattaḥ – 2.2.3.28) classifies such an adopted-son as one among twelve types of sons; but, places him below the biological (aurasa) sons’

(aurasaṃ putrikā.putraṃ kṣetrajaṃ datta.kṛtrimau / gūḍhajaṃ ca apaviddhaṃ ca riktha.bhājaḥ (pracakṣate / kānīnaṃ ca sahoḍhaṃ ca krītaṃ paunarbhavaṃ tathā / svayaṃ.dattaṃ niṣādaṃ ca gotra.bhājaḥ pracakṣate – 2.2.3.31-32).

Hence, the boy Sunahsepa came to be known as kritrima –vaisvamitro – devaratah, the god-given non-natural son of Visvamitra.

Sunahsepa grew into a great Rishi. The hymns 24-30 in the first mandala and the third hymn of the ninth mandala of Rig-Veda are ascribed to him. The later Rishis, the Kapileya-s and the Babhrava-s are mentioned in the Aitareya Brahmana (7.17) as descendants of Sunahsepa Devarata Vaisvamitra.

Chhandas

9.1. It is said; one cannot truly comprehend a Vedic mantra without a good understanding of its Chhandas, the metrical form. Chhandas is the very basis of the structure and of the import of Vedic hymns (chandah paadau tu vedasya– Paniniya Shiksha – 41). The term Chhandas is a word derived from the root (dhatu) चदि , giving rise to ahlade (आह्लादे, joy or delight).

The term Chanda (Sanskrit: छन्द) , therefore, indicates that which is ‘pleasing, alluring, lovely, delightful or charming’. And, Chhandas is the joy in structuring the syllables and words of the mantra (chhandayati ahlada-dayani chhandas – Amara Kosha 3.20). It also sets the rhythm for chanting of the mantra. Chhandas enlivens and articulates the meaning of the mantra. And, one has to unravel, untie the covering of Chhandas (chandaamsi chhadanaath – Nirukta – 8.3.11) in order to fathom the true intent of the mantra. (11,5: candraś. candateḥ. kānti. karmaṇah / candanam. ity .apy. asya. bhavati)

Since the purity in transmission of the Vedas is highly dependent on the sound or the way they are uttered, Chhandas is very important for their accurate utterance.

The Rig-Veda and Sama-veda mantras are entirely composed of Riks , following certain Chhandas. But, the Yajur-veda has both prose and verse (shloka) forms of mantras; and, its shlokas are composed in appropriate Chhandas.

Vaidika Chhandas, the meter of the Vedic mantras, is different from Chhandas and meters of poems in classical Sanskrit. Vaidika Chhandas is Akshara pradhana (अक्षरप्रधानम्). Here, the number of letters is significant . But, in classical Sanskrit, the number of syllables as well as their rhythm and pitch-quality (Laghu and Guru) are taken into account

10.1. Gayatri, in fact, is the name of one of the metrical forms (Chhandas) adopted in Rig-Veda. The Gayatri Chhandas is referred to in Rig-Veda (1.12.11) as ‘Gayatra’ or ‘Gayatram’. It is said; that out of 10,552 mantras in Rig-Veda Samhita as many as 2,456 are in Gayatri Chhandas. But, the largest numbers of mantras (4,251) in Rig-Veda are in Trishtup Chhandas. And, the rest (1,346) are in Jagati Chhandas.

10.2. Gayatri Chhandas is associated with Agni (aṣṭākṣarā vai gāyatrī gāyatram agneś-chando – Sp.Br.5.2.1.5). Agni is the first and the foremost of the Vedic deities without whom no ritual is possible. Trishtup Chhandas is associated with Indra; and, Jagati Chhandas with Visvedeva-s.

10.3. Among the fourteen* types of Chhandas used in the Vedic texts, Gayatri is the shortest (with twenty-four matras). It is regarded the first (head: atah shirah) and the basic metrical form. And, it is the best. Taittiriya – Aranyaka (10.34) regards Gayatri as the Mother of all the Chhandas (gayatrim chhandasaam mata); born of Brahman (Brahma –yoini); and, as one that signifies Brahman in three letters (tri-akshare Brahma-vaadini). Almost all the Samhitas (excepting Krishna-yajurveda) begin in Gayatri Chhandas.

[* The fourteen types of Chhandas employed in Vedic texts are listed as : Gayatri; Ushnik; Anushtup; Brhati; Pankthi; Trishtup ; Jagati ; Ati- Jagati ; Shaktari ; Ati – Shaktari ; Ashti ; Ati- Ashti ; Dhruthi ; and , Ati – Dhruthi .

Gayatri Chhandas has twenty-four syllables; and, the six other Chhandas that follow thereafter has each four syllables more than it’s preceding one (e.g. Jagati the seventh chhandas has 4×12 = 48 syllables).

Incidentally, the seven horses yoked to Sun-god’s chariot are named: Gayatri, Brhati, Ushnik, Jagati, Trishtup, Anushtup and Pankthi (SB: 5.21.16.)]

Among such fourteen types of Chhandas, the following seven are said to be of importance in the Vedic texts :

chhandas

Further, according to other classifications made in texts dealing with Chhandas (छन्दस्सूत्रम्): Ashti (अष्टिः – 64), Prakrti (प्रकृतिः – 84), Vikrti (विकृतिः- 92), Abhikrti (अभिकृतिः – 100), Utkrti (उत्कृतिः- 104) are mentioned as a few other Vedic Chhandas. Some other texts dealing with Chhandas, include Rkpratishakhya, Shankhayana Shrauta sutras and Nidana Sutra of Samaveda. The devotional hymns etc., are usually constructed in other meters; which are mostly different from the Vedic Chhandas

10.4. As said earlier, Gayatri Chhandas is associated with Agni, the first and the foremost of the Vedic deities. The Rigveda commences with Agni Sukta, composed in Gayatri Chhandas. Because of that, Gayatri Chhandas is invested with great sanctity; and, all the other mantras in this Chhandas are of special significance. The Satapatha Brahmana (6.1.3.19) declares the mantra in Gayatri Chhandas is Agni himself (Gayatri va Agnihi; and Agnir vai Gayatri). And, that Agni, indeed, is the face (mouth) of Gayatri (tasya Agni-reva mukham). That is the reason, it is explained, the opening mantras of all the Yajna-s are in Gayatri Chhandas.

The Gayatri Chhandas is adorned with eight letters – Astakshara Gayatri / Gayatri Brahma-varchasam – (Tai.Brh. 2.7.3.9) . The Satapatha Brahmana (4.3.2.7) also says – Tato astakhshara Gayatrya bhavat.

It is also said; the line of Gayatri Chhandas having eight letters* in association with Pranava (Aum) as the ninth letter (navakshara vai), by itself forms the first half of the Yajna (purvardha vai yajnasya Gayatri-SB : 3.4.1.15) – navākṣarā vai gāyatryaṣṭau tāni yānyanvāha praṇavo navamaḥ pūrvārdho vai yajñasya gāyatrī

[* Some say; this refers to the eight letters of the subtle and mystical fourth-line (Turiya paada) of Gayatri : paro (2) , rajas (2) , ya (1), pra– tapa –iti (3).]

10.5. The root of the term Gayatri is ‘gai’ (sabde) which denotes the sense of sound or speech or singing. That is the reason, it is said, the rik-s in Gayatri Chhandas lend themselves to singing rather easily (gana-anukula-rik).

A Sukta in Rig Veda (1.10.01) commences with the words ‘gāyanti tvā gāyatriṇo‘. Yaska-charya (Nirukta: 7.12.5) expands on that and says that rik-s in Gayatri-Chhandas are ideal for singing the praises of deities (gāyatrī.gāyateḥ.stuti. karmaṇas). The rik-s in Sama-Veda are therefore mostly in Gayatra-chhandas.

11.1. As regards the Gayatri mantra, in accordance with the characteristics of the Gayatri Chhandas (metrical form) in which it is composed, it is required to be made of twenty-four letters, akshara or matra (Gayatri chaturvimsatyakshara); arranged in three lines (tripaada); each paada having eight letters (ashta-aksharatmaka-paada). And, the mantra is made of nine words.

[ Please listen to the excellent presentation of the Samhita-pata;Pada-patha; Krama-patha; Jata-patha; and , Ghana-patha of the Gayatri Mantra by Pandit Sri Suresh . Please click here. ]

11.2. But, the first line of the mantra (tat-sa- vi –tur -vr-re-nyam) has only seven matra-s. The requirement of the chhandas is satisfied in either of two ways:

One; the Pranava, that is, Om (ॐ) is added at the commencement of the first paada to make it eight-lettered (adi-omkara- sahita astakshara). The Pranava, thus, indeed becomes an integral part of Gayatri-mantra. Then, the first paada would read: ॐ तत्स॑वितुर्वरे॑ण्यम्।

And, the alternate way is to split last matra ‘nyam’ into two: ‘ni’ and’ yam’, in order to render the line in eight matra-s.

For similar reasons, the last matra of the third line ‘yat’ is taken to be one matra.

Tri-rupa Gayatri

12.1. Gayatri is at once the name of the mantra, the name of the Chhandas; and is also the name of the Goddess Gayatri Mata. Gayatri is trinity; and is hailed as Tri-rupa Gayatri. Gayatri is most usually explained or interpreted in terms of triads. Gayatri is also hailed tri-akshare Brahma-vaadini, the one who signifies Brahman in three letters.

Gayatri as mantra

13.1. To start with, Taittiriya-Aranyaka (10.35) describes, Gayatri as a mantra structured in three lines (tri-paada). And, a paada (foot), etymologically, is that which moves, activates and enlivens (padyase).

13.2. Each of the three paada-s is identified with a Veda: Rg, Yajus and Sama. Following that, Gayatri is celebrated as the mother of all Vedas – Veda Mata (AV: 19.71.1); and, she is requested to bless the devotee with wisdom, material prosperity , proginee, long life and ultimate liberation.

stutā mayā varadā vedamātā pra codayantāṃ pāvamānī dvijānām | āyuḥ prāṇaṃ prajāṃ paśuṃ kīrtiṃ draviṇaṃ brahma varcasam | mahyaṃ dattvā vrajata brahmalokam ||(AVŚ_19,71.1)||

13.3. Further; each paada of the mantra is also identified with each of the three matra-s (syllable) of the Pranava Aum; and with each of the three Vedas. And again, each paada of the mantra is identified with each aspect of Gayatri – Gayatri, Savitri and Sarasvathi.

:- The first paada of the Gayatri mantra is identified with the first matra of Pranava ’ Aa’ (a-kaara) , which in turn is identified with Rig-Veda. The word ‘Savitr’ in the first paada of the mantra (tat Savitr varenyam) is of essence here; and, it signifies creation and inspiration (stute).The first paada of the Gayatri mantra is associated with Savitri who represents dawn.

: – The second paada of the mantra is identified with the second matra of Pranava ‘U’ (u-kaara), which in turn corresponds to Sama-Veda. The verb ‘dhimahi’ in the second paada of the mantra (bhargo devasya dhimahi) is of importance here; and, it signifies precise articulation (gaana-kriya).The second paada of the Gayatri mantra is associated with Gayatri as Vac, clear speech (gai-sabde).

: – The third paada of the mantra is identified with the third matra of Pranava ‘M’ (ma-kaara), which in turn is identified with Yajur-veda. The key word here is ‘dhiyah’ in the third paada of the mantra (dhi yo nah prachodayat) signifying ritual-actions (karma). The third paada of the Gayatri mantra is associated with Sarasvathi (uninterrupted rituals).

There also other interpretations.

14.1. The Shandilya Upanishad (1. 17) identifies the first matra of Pranava with Gayatri; the second matra with Savitri; and the third with Sarasvathi.

prāṇāpānasamāyogaḥ prāṇāyāmo bhavati ।
recakapūrakakumbhakabhedena sa trividhaḥ ।
te varṇātmakāḥ । tasmātpraṇava eva prāṇāyāmaḥ
padmādyāsanasthaḥ pumānnāsāgre
śaśabhṛdbimbajyotsnājālavitānitākāramūrtī raktāṅgī
haṃsavāhinī daṇḍahastā bālā gāyatrī bhavati । ukāramūrtiḥ
śvetāṅgī tārkṣyavāhinī yuvatī cakrahastā sāvitrī bhavati ।
makāramūrtiḥ kṛṣṇāṅgī vṛṣabhavāhinī vṛddhā
triśūladhāriṇī sarasvatī bhavati ।

14.2. Gayatri is revered as the very foundation (adhistana) of all beings and objects. Gayatri represents earth (prithvi), as all existence is established on earth. The prithvi, in turn, stands for human body on which are settled all the vital-currents (sarve-pranah) and sense- functions (indriya kriya).

In these traditional texts, when human body is referred to as the foundation (aadhara), it is the heart (hrudaya), the very core of the being, that is actually meant. For, all the vital currents (hrudi praane) and sense-functions are established (prathistitha) in the heart. Gayatri, therefore, represents the heart-lotus (hrudaya pundarika), the life-centre of all existence. (Ch.Up.3.12.3)

14.3. The Chandogya Upanishad (3.12.1) says that Gayatri signifies all beings: past, present and future. It is vac, representing the vital currents (prana); it is vac (speech) in the sense of mantra (gaayati) the recitation of which protects one who recites (traayate) ; it is vac representing all the elements – (Vac va Gayatri; vac va idam sarva-bhutam , Gaayati cha, traayate cha); and, it is as vac Gayatri is all pervasive (Gayatri vac vai gayatriti) .

gāyatrī vā idaṃ sarvaṃ bhūtaṃ yad idam kiñca | vāg vai gāyatrī |vāg vā idaṃ sarvaṃ bhūtaṃ gāyati ca trāyate ca || ChUp_3,12.1 ||

14.4. Yaska-charya mentions that mantras have three layers of meaning (traye artha).The essential power of the mantras are to transport us to the world of ideas beyond the ordinary and to experience the sublime ideals that its Rishi envisioned. Accordingly, Gayatri mantra too is interpreted, with special reference to its Devata Savitr, in terms of: Adhi-Yajna; Adhi-Daivata; and, Adhyatma. (We shall come to this a little later).

15.1. Ultimately, apart from the conditioned aspects of knowledge, vital current etc there is an un-conditioned, absolute aspect to the mantra; and, hence is called a-pada. Gayatri is not mere aggregate of letters; Brahman is its essence. And, this is Savitr in its true nature, un-conditioned and beyond relative existence. Savitr has to be realized in the space within (antar-akasha), in the depths of one’s heart-lotus (daharam pundarikam).

Gayatri as Devata

16.1. Gayatri – the mantra and the Chhandas – are personified as the Goddess. The Mother as nirguna is the form-less vachya-shakthi; and as saguna, she is the presiding deity of the Gayatri mantra. The mantra itself is Devatha. The worshipper awakens and enlivens the potent Goddess residing in his heart-cave, by her/his devotion and earnestness.

[According to some, it was the Tantra ideology that turned a mantra dedicated to the solar deity Savitar into a meditation on the Mother Goddess. It also brought in mystic syllables known as Vyahritis which are similar to the Bija-aksharas of Tantric meditation. It’s Dhyana-slokas portrayed Gayatri as a goddess with symbolic iconographic features. The repetition (japa) of Gayatri mantra is preceded by purification rituals of Tantric nature, such as achamana, pranayama etc.

In turn, the Vedic tradition too accepted and revered the personified form of Savitri mantra; as Mother Goddess (asya maata Savitri: Manu.2.170) – Gayantam trayate. And, Chandogya Upanishad (3.12) glorified Gayatri as being that which exists right here, that which sings (gayati) and saves (trayati) all things in their Reality – vāg vā idaṃ sarvaṃ bhūtaṃ gāyati ca trāyate ca || ChUp_3,12.1 ||. ]

16.2. In the composite Dhyana-sloka submitted to Gayatri, the mantra and the goddess unite. The hymn addressed to Gayatri (Gayatryah), she is celebrated both as the mantra and as also the goddess.

:- As mantra, Gayatri (Gayatryah) is described as being in the form of Gayatri chhandas (Gayatri-Chhandah), having Viswamitra as Rishi (Vishwamitra Rishih) and Savitr as Devata (Savitaa Devata). Gayatri is composed of three lines (Tripadaa), having twenty-four syllables (Chaturvimsaty-aksharaa) . Her mantra is of six kinds (Shatkukshih) embodying the principles of : Vak (speech) ; bhuta (beings) ; prithvi (earth); sarira (body) ; hrudaya (heart) ; and, prana (vital currents).

: – As Goddess , the fair and bright (swetha varna) Gayatri descends from the Gotra of Rishi Samkhyayana (saamkhyaayana sa gotra). She is endowed with five heads (Panchaseersh) . She represents the five vital currents (Praana, Apana, Vyana, Udana and Samaana). Agni glows in her face (Agnirmukham), Brahma is in her head (Brahma Shiro), Vishnu resides in her heart (Vishnur hridayam), Rudra is her tuft (Radrah Sikhaah ) and the earth is her generator (Prithivi Yonih). She presides over Upanayana (upanayaney viniyogah ).

[Gayatryah Gayatree Chhandah Vishwamitra Rishih, Savitaa Devataa, Agnirmukham, Brahma Shiro,Vishnur hridayam, Radrah Sikhaah, Prithivi Yonih, Praanaa paana vyaanodaana samaanaa sa praanaa sweta varnaa saamkhyaayana sa gotra Gayatree Chaturvimsatyaksharaa Tripadaa Shatkukshih, Panchaseershopanayaney viniyoga ]

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17.1. Gayatri as Devata, the Goddess , is hailed as Tri-rupa –Gayatri, also because she combines in herself the three goddesses : Gayatri, Savitri and Sarasvathi. Gayatri is the protector of life principles; Savitri of Satya (Truth and integrity of all Life); and, Sarasvathi of the wisdom and virtues of life.

17.2. Gayatri is associated with three ‘savana-s’ (morning, midday and evening). She is said to manifest in three forms as : Gayatri in the morning (pratah-savana); Savitri in the midday (madyanha savana); and , as Sarasvathi in the evening (saayam savana) – [Aitareya Brahmana-13.25].

Gāyatrī

pūrvāhṇakālikā sandhyā, kumārī, raktavarṇā, rakta-gandha-mālyānu-lepinī, pāśā-aṅkuśā-akṣa-mālā kamaṇḍalu-varahastā, haṃsārūḍhā, brahma-daivatyā, ṛgveda-sahitā, āditya-patha-gāminī, bhūmaṇḍala-vāsinī |

Sāvitrī

madhyāhṇakālikā sandhyā, yuvatī, śvetavarṇā, śveta-gandha-mālyānu-lepinī, triśūla-ḍamaru-hastā, vṛṣabhā-rūḍhā, rudra-daivatyā, yajurveda-sahitā, āditya-patha-gāminī, bhuvoloke vyavasthitā |

Sarasvatī

sāyaṃsandhyā, vṛddhā, kṛṣṇāṅgī, kṛṣṇa-gandha-mālyānu-lepinī, śaṅkha-cakra-gadā-bhayahastā, garuḍā-rūḍhā, viṣṇu-daivatyā, sāmaveda-sahitā, āditya-pathagāminī, svarga-loka-vyavasthitā ||

But, it is also said; Gayatri herself represents all three savana-s (Gayatri vai sarvani savanani).

17.3. She is Trinity herself. As Gayatri in the morning she is Bramha svarupini; as Savitri in the mid-day she is Rudra svarupini; and as Sarasvathi in the evening she is Vishnu svarupini.

17.4. Mahanirvana Tantra regards the Matrka–Trinity of Brahmi, Vaishnavi and Maheshwari as three aspects of Goddess Gayatri. She is Brahmi in the morning; Vaishnavi in the midday; and, Maheshwari in the evening.

17.5. Goddess Gayatri is revered as the sum or the aggregate (samasti svarupini) of all that is divine (Sarvadevata Svarupini; Sarvamantra Svarupini) – Gayatri vai idam sarvam.

Devi Pancha mukhi

The Devata

18.1. The Gayatri mantra is addressed to Savitr; and, he is the Devata of the mantra. The Rig-Vedic god Savitr is understood and interpreted in varieties of ways. These explanations and interpretations are spread over a wide spectrum; ranging over the ritualistic, philosophical and esoteric understanding of the term Savitr.

: – Savitr is an ancient Vedic deity. He is an independent god in his own right. But, Savitr is sometimes taken as Surya; also, at times, not as Surya. At one level, Savitr is conceived as the power to dispel darkness. Savitr, here, is the aspect of Sun before daylight; and, after daybreak he is Surya*.Savitr, in this sense, is the one who inspires or gives rise to Sun. Savitr is also the motive power, the symbol of light that invokes radiance in hearts of beings. He is the awakening that impels men and creature to action. His mantra says: “We contemplate on the adorable brilliance of god Savitr, may he inspire our intellect”.

[*The scholars tend to view Savitr more as a splendid concept than as a natural phenomenon.]

: – At other places in the Samhitas, Savitr is variously identified with Agni, Soma, Prajapathi, Visvedeva and Surya; or with their aspects. At another level, Savitr is identified with one’s mind, consciousness and with one’s own self (antaryamin). Savitr, here, is the inner-light that illumines, enlivens, prompts and inspires (su-preraka) all our thoughts, speech and deeds.

: – Savitr the luminous one (divyati prakashata iti) is also the Purusha who resides in the heart –lotus of the devotees (hrudayaravinde); and is perceived in meditation (dyatatvat).

: – And again, Savitr residing in the solar orb is the symbol of Brahman (asaavaadityo Brahma).

It is said; for a beginner, Savitr might appear a functional deity; but to the seer, Savitr is a representation of Paramatman free from attributes. Following that, the first syllable of the mantra ‘tat’ could be taken either as a neuter pronoun meaning ‘that’, or understood in silence as ‘that One’ the Supreme principal Brahman.

: – Ultimately, it is said, Savitr is verily the Absolute Parabrahman.

Let’s look at some of these aspects.

Savitr as Vedic god

19.1. Savitr is an ancient (Asura) Vedic god of the upper regions (dyu-sthana). He is celebrated in eleven entire Suktas and in many separate stanzas as well. Everything about him is beautiful and brilliant.

He is pictured, pre-eminently, as a golden deity adorned with golden-eyes; golden – arms and golden-hands; and having a golden-tongue. His chariot and its shaft, made of gold (ratham hiranya pra-ugam vahantah –RV: 1.35.4-5), are drawn by two or more brown, white-footed horses adorned with pearls (krsnavant).

The yellow-haired (haridra kesi) Savitr rises up from the east, following the emergence of Ushas the goddess of dawn; and illumines the sky. He moves across the sky seated in his bright golden chariot (shubrabhyam yajato haribhyam), filling all directions with his boundless golden lustre (hiranyim amitam) seeing all creatures, dispelling darkness and sorrows.

He rises aloft his strong golden arms extending to ends of earth (hiranya divo antha anustam: RV: 7.45.2) and blesses all beings (sakala shreyamsi dhatrunam). The other gods follow him.

19.2. His countenance of golden splendor is pleasing; and his speech is clear and sweet. On his ancient path, he protects his worshippers; and conveys the departed ancestors (pitris) to where the righteous dwell. Savitr governs the cosmic order Rta. And, all the elements and gods are subject to his law.

19.3. He protects the universe (vishvam bhuvanam dharayistathi: RV: 4.54.4).Prayers are submitted to this glowing, venerable god to inspire, to stimulate and to illumine ones heart and mind (RV: 3.62.10).

Savitr according to Yaska-charya

20.1. Yaska-charya, the great grammarian and etymologist of very ancient India, classifies Savitr both among the Devatha-s of the mid-region (madhyama – sthana) as also among the Devatha-s of the upper-realms (dyus -sthana). Savitr as the Devata of the mid-region, settled beyond interference (aturte), establishes (sthiram akarat) the earth (prihvim) firmly, easily and happily. He is associated with the clouds, the rains, the earth and the mind; and, he holds afloat the sky (akashbhane) without visible support (aalambanam tad-rahite).

20.2. The earth fully established by Savitr (RV: 10.149.1) symbolizes matter. And, the heaven which he holds afloat, without any support, is the consciousness. And, between the two is the mid-region where Savitr has settled Soma (aturte baddham Savita). Soma, here, symbolizes the alert mind which is guided by Savitr along the right path (Savitr is therefore called ‘Sunita’, ‘sushtu neta’). Savitr, in association with Soma is variously described as ‘Asura’ the giver of life (prana-daata), Vi-suparna (possessed of splendid forms).

20.3. Savitr in the upper-realms (dyus-sthana), symbolized by solar orb, is the Devata par excellence. He illumines the earth as well as the atmosphere and the highest realms (nrchaksha yeva devo madhya aastha aa prapivaan rodhasi anthariksham – RV: 10.130.2). He is the very soul of all that moves and all that stays in the world. He is the sight of the human beings who can see (nrchaksha), abiding in the midst of the heart-space (hrudayakasha).

20.4. Yaska-charya (Nirukta: 10.33) cites a mantra from Rig-Veda comparing Savitr with another Vedic god Tvashtr.

hiranyastūpaḥ.savitary.athā.tv.āṅgiraso.juhve.vāje.asmin/evā.tvārcann.avase.vandamānaḥ.somasyevāṃśum.prati.jāgarāham/

The Rishi of this mantra is Prajapathi, described as the son of Visvamitra. The skilful Tvashtr provides form to objects (Tvashta rupani pimsatu: 10.184); and projects the earth and sky alike, just as Savitr does (RV: 10.110.9).

ya ime dyāvāpṛthivī janitrī rūpair apiṃśad bhuvanāni viśvā | tam adya hotar iṣito yajīyān devaṃ tvaṣṭāram iha yakṣi vidvān

21.1. As a solar god Savitr is related to Truth and to the cosmic order Rta. In that context, Yaska-charya, again, explains the term Savitr as the progenitor, the one who gives birth to all things (Savitr sarvasya prasavita: Nirukta– 10.3). Savitr is hailed as the most real (satya), the source of all order and the true-principles (satya-dharma) that govern all existence.

And, in that sense, Savitr is one with Varuna who represents Satya the Absolute Truth; and, Rta the cosmic order conditioned by space, time and circumstances.

Satya is the Truth of Being: and, Rta is the truth of becoming. Savitr Devata is related to both. It is also said; Savitr is Satya, for it is the essence of all things – living and nonliving; with form and without form. The humans must follow the course of Savitr (satya) and accomplish their tasks (devasya Savithuhu karma kurvanthu manavaha – AV: 6.23.3)

22.1. Yaska-charya calls Savitr as Kavi; as the one who knows all the past, present and future. He is the seer of the beyond, the omniscient. He is the one who draws out sublime thoughts from the womb of mystery; and brings them to light for the benefit of all. Savitr is the most adorable – ‘varenyam’. He inspires all (Savita sarvasya preraka) to move upwards towards the heavens viz. the higher reaches of consciousness.

22.2. According to Yaska-charya, Savitr is the inner-light, the inner controller (antaryamin). He releases (prasuta) actions from their un-manifest states. And, prompts (su-preraka), inspires and guides all to engage in good thoughts and right actions; and to tread on the right path.

Savitr and Agni

23.1. Savitr, the solar deity is at times identified with Surya as also with Agni who is a Devata of Prithvi-sthana, the earth – region (agnir jyotih, jyotis surya svaaha). Savitr also is Apam-napath, the child of waters; the favourite epithet of Agni.

23.2. When Savitr is associated with Agni, he is described as the ascending flames of Agni (urdhvam keturn). Savitr as Agni is the purifier of all things (pavaka) ; as also of the minds and hearts of humans. Along with Agni, Savitr becomes a part of the Yajna. Savitr is invoked at the commencement of the Yajna with prayers for the successful completion of a Yajna (Savitr yajnam pranayeti).

23.3. In the context of Yajna, Savitr is also conceived as the visible representation of the year of twelve months (kapala) – (dwadasa –kapalah savitro bhavati; dwadasa vai masah samvathsarasya). The presence of Savitr is symbolized by a circle drawn in the yajna-vedi; and it is surrounded by an altar made of fifteen bricks (ishtaka) symbolizing fifteen days of the first half of the month (purva-paksha); or of the latter half of the month (apara-paksha) .

23.4. At another level, during the Yajna, Savitr becomes the inner-being (antaryamin) and the inspirer (preraka) that dwells in the heart of the performing priest (adhvaryu).

yajna

Savitr and Soma

24.1. Savitr the Devata of Gayatri mantra is closely associated with Soma. In every Sukta addressed to Savitr there are mantras which praise Soma. Prayers are submitted to Soma to provide food that is free from contamination and that is free from danger (anamiva ishaskrath) to humans (dvi-paade) and to the animals (chatush-paade). Soma is requested to prolong our lives (ayur-vardaya) by driving away threats and dangers.

25.1. Soma in the Vedic context has many references: as plant (adh-bhautika), the drink (adhi-yajna), the moon (adhi-daivata) and the mind (adhyatma). Its esoteric meaning is taken as that which provides reality or substance to the un-manifest (satyvataraya agnau suyate tasmat-somah). Soma as the gentle devoured substance is the partner of Agni the fiery devouring spirit (annada). Soma the substance of the universe is ‘food (anna)’. Food is the principle of all, for, truly, the beings are born from food, when born they live by food; and when they are dead they themselves become food “(Taittereya Upanishad 3.2)

25.2. Just as with Savitr, Soma is closely associated with Surya too. Soma is often described as bright (aruna bhabru), fascinating (sona) and luminous (hari); and he shines along with the sun (Soma Suryena rochate -RV : 9.2.6). If Surya is the eye of the gods (asau vaa aditya devaanam chakshasu), Soma is the eye of the manes, pitris (Chandrama vai pitrnam chakshuh). If Surya is the symbol of eyes (chaksho Surya) , Soma is the symbol of mind (Chandrama manaso).

Thus, if one is the sight, the other is the insight.

25.3. Following that, Soma is symbolized as the parent of all mind-process (pita matinaam), the leader of thoughts (neta matinaam) , the protector of wisdom (patir dhiyah) and the master of mind (manasas patih). He is the true (dhira) knower of all things ( manishi, medhira , vipra) here and beyond (visvavid), hidden (kratu-vid) and revealed (kavi kratu). The secrets of all the senses are laid bare by the shining Soma (devo devaanam guhyani nama-avishkrnoti –RV: 9.95.2). He is the lord of all speech (somo raja vaksah). He is the Lord of the Yajna ; and one who assigns to each Deva his share in the Yajna (bhagam devabhyo vidadhatyayan ).

25.4. Soma is called here Samudra meaning not only vast but also ever – active mind, the mind which operates creatively and ceaselessly. He is projected in the image of a powerful, unruly and impetus horse (asvam ivadhukshat dhunim).

25.5. In all these references, Soma represents the evolved, well ordered, efficient and far-reaching mind (daksho devanaam asi –RV: 9.85.2) ; the mind that helps us to reach Savitr. Soma is presented as the very soul of sense-function (atmendriyasya bhavasi dhasir uttamah). He is the true source of inspiration to reach Savitr.

26.1. Incidentally, I may mention that there is in the Rig-Veda a hymn (149 of the tenth mandala) associated with Savitr (Savitr pratipaadaka Hiranya –stupa mantra) . The Rishi of this mantra is Archan, the son of Hiranya-stupa who in turn was the son of the most celebrated Rishi Angirasa. Because of his devotion to Savitr, Archan earned the epithet of Savitarchan.

26.2. Both the father and the son in their hymns addressed to Savitr also praise Soma – pavamana, the purifier. Hiranya-stupa (father of Archan) adores Soma variously as light (jtothi), bliss (svar), strength or ability (daksha), wisdom (kratu) and protection (uti) – (RV: 9.4.1-3). Hiranya-stupa prays to Soma to lead him to Savitr or Surya (tvam Surye na aa bhaje – RV: 9.4.5).

26.3. As regards the son Archan; he describes Soma as ‘the other principle’ (anyad abhavat) which came into being after (paschath) Savitr. In his adoration of Savitr (Somasyevamsum prati- jagaraham), Archan invokes the lustrous (amsu) Soma, the one who bestows the wealth of the earth as also that of the heaven (dvi-barhasam rayim).And , prays to Soma to lead him to Savitr.

26.4. Following the family tradition, Archan’s son Syavasva Archanasa also composed hymns devoted to Savitr. His rik appearing in the fifth mandala of Rig-Veda Samhita (5.82.1) gained fame as ‘the other Savitri’ (ity uktatvat savitram).

[Please see Note to paragraph 5.4 above]

Savitr and Surya

27.1. Savitr just as the other Devatha-s of the upper realm (dyus sthana) is a solar deity; he was one of the Adityas. Their several aspects and functions are described variedly as: Pushan the one who nourishes ; Vishnu the one who pervades ; Keshi the one who provides light (pra-kasam) ; Vaisvanara the one who assumes varied forms ; and, Vrshakapi the one becomes red and ascends the sky like a bull. The Vedic mantras adore the Devatha-s of the upper realm (dyus sthana) by these and other names; for, they all, in essence, are of solar-spirit.

27.2. Savitr, as a solar deity, dispels darkness and makes way for dawn, illumining the entire world. In other words, Savitr is the one that brings forth Surya who causes the day.

27.3. Savitr, here, is conceived as an aspect of Sun before daylight (udayat purvabhavi); and, after daybreak the Sun is called Surya (Surya iti). Thus, Surya is the later form of Savitr. Some say, Savitr is Surya when present below the horizon, but not quite visible. Savitr is also called Bhaga (Savita Bhagaha: RV 5.82.3) in a sense of the ‘early (proto)’ Surya.

27.4. Savitr, thus, comes after night (tamas) and before light (jyothi): (tamasya kirna rashmir bhavathi). It is also said; the night comes at his command sending all beings to rest. Savitr is the bridge between night and light. Night is un-manifest; and light is manifest. Savitr in this sense is both un-manifest (A-vyakta) and manifest (Vyatka).

28.1. Sri Sayana-charya also describes Savitr as the deity who presides during the time between dawn and the emergence of Sun*. Savitr is the emerging rays of light (urdhva bhanum savita devo asred). Savitr, here, is visualized as the power to dispel darkness and enliven all existence (Brhad –devata: 2.61-62).

28.2. Sri Sayana, therefore, regards Savitr as the inspiration, the illumining power of Surya. He expands: “the all-knowing Aditya (Surya), the protector of all beings (gopah) who moves in the mid-region permeating all the three worlds with his rays derives his inspiration (tasya prasave) from Savitr”.

[*Sri Aurobindo interprets night as ignorance. And, once the senses are controlled and the mind is stabilized, Ushas the dawn of consciousness arises. Following her, comes Savitr the awakening, the grace and the inspiration to seek Satya, the Truth, personified by the Surya. “His coming is the advent of God’s hour, awakes the asleep and ennobles the vilest things”.]

28.3. Sri Sayana explains that the expressions Surya and Savitr imply the power to protect, to inspires and flash forth (pra-sauti). He also says Savita is that which enlivens and inspires all beings (Savita sarvasya prerako devah). And, Savitr, like Surya, pervades spreads and holds together different things. Savitr just as Surya represents light, energy, inspiration, intellect and consciousness.

28.4. Svetasvatara Upanishad (2.7) describes Savitr as a Deva, a luminous god, who shines in the sky with dazzling brilliance (divyati prakashata iti). He is adored by all the gods (sthuyate sarva-devathaihi). The Deva illumines the world and makes all life possible. It is Savitr alone (ekah) that has the power to propel, inspire and flash forth.

29.1. Savitr, here, is the radiance that illumines and enlivens all existence. He provides the inspiration and the impetus to life. He resides in the heart-lotus of the devotees (hrudayaravinde); he is to be meditated upon (upasate); and perceived in meditation (dyatatvat).

29.2. Savitr is truly one’s own self, vivifying the body, the sense-functions and the mind, providing wealth for the total welfare. He lightens up all our thoughts, our resolves and our aspirations.

Savitr and Purusha

30.1. It is said; Savitr is Purusha. The Purusha Sukta of Rig-Veda (10.90.2) describes with awe and wonder the majesty of Purusha. It says; all that exists as the world we know (sarva bhutani) is only one-fourth of the Purusha; and three – fourths of him are in the upper realms beyond our perception (tri paadasyam amrutam divi).

30.2. The Gayatri mantra is said to be four-footed (chatuspaada) when Pranava (Om) accompanies it. However, when Pranava is omitted it is only three-footed (Chatuspaada Gayatri pranavena saha; pranavam vina tripaada). It is said; the fourth paada (turiya paada) is hidden or un-manifest. It represents the Purusha abiding in the solar orb (Surya mandala-antargata-purusha), beyond intellect.

30.3. It is said; the Turiya paada is the unconditioned and the most subtle aspect of the mantra. And, it And hence, it is named A-paada. This is Savitr in its true nature – un-conditioned by aught and beyond relative existence. It is most worthy of worship (varenyam) and contemplation (dhyayema).

The Turiya paada is said to represent Purusha ; for . it completes to perfection the three Padas of the Gayatri (Purushah sarva purnath). The Turiya Pada resides in the heart of the devotee , without explicitly revealing itself (puri sayanat).

31.1. Savitr or Purusha is cosmic in nature. He fills and enlivens the entire universe; yet, he also dwells hidden in heart-cave of each being as its essence (guru guha), consciousness and strength. He is the antaryamin, the very life of life. Savitr resides in the heart-lotus (hrudaya-aravinda) of the devotee; and there he becomes visible. Hence Savitr is called ‘darsata’, that which is seen. The essentials of our existence are all settled in Savitr, like the spokes of the wheel in its hub.

31.2. This Savitr or Purusha is verily the Brahman (jagat prerakasys Brahma- rupasya Savituh), the supreme consciousness, beyond the three gunas (paro rajasa) and illuminating the three worlds (tapati), ruling over them (adipathya bhavena).

savitrā prasavena juṣeta brahma pūrvyam / tatra yoniṃ kṛṇavase nahi te pūrtam akṣipat // SvetUp_2.7 //

Let’s talk about the components of the Mantra and its import in the next part.

Gayatri scan0001

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Posted by sreenivasaraos on October 7, 2012 in Devi, Gayatri

Tags: Chhandas, Devata, Gayatri < Savitri, Gayatri mantra, Rishi, Visvamitra

Kavi, Rishi and the Poet

01 Sep

1. Kavi the Sanskrit term, generally, means poet, the one who creates poetry.

If the meaning of the term were to be derived from the root “kru_varne”, it means “one who describes”. In which case, it refers, particularly, to those creations that spring from intuition (prathibha) rather from logic. The poetic genius (prathibha) has two aspects; Bhavaitri, the inner experience (also called darshana); and, karayitri the skill, virtuosity in expression (vivrana). What shines forth into the outer world is Kavitva, poetry.

2. According to Yaska, the term Kavi denotes, comprehensively, all those who express themselves through their intuitional (artistic) creations . The creative expression could be through words, color, sculpture, sound, or any other form, so long it flows out of intuition (prathibha) and manifests in an enjoyable form, to the benefit of all beings. Kavitva (poetry) thus encompasses in itself all forms of art expressions.

3.The Rig Veda mentions the term Kavi, any number of times. Yaska_charya in his glossary derives the meaning of the word from the root “kram” and interprets kavi as one who can see the unseen (kavihi_krantha_darshano_bhavathi) . Here again it is the intuition that inspires the kavi to expand his consciousness and express himself spontaneously. Yaska suggests a close empathy, unison between the creator and his creation, and that each tends to become a part of the other.

4. The Rig Veda further enlarges this concept and addresses the Creator as the Supreme Poet (kavir manishi paribhu swayambhuh) who conceives the grand design and expresses himself spontaneously through his creation. He is the seer, the thinker who expands his consciousness to encompass the entire Universe (Vishwa_rupaani_prathimancha_kavihi). The creator, the kavi, through his all-pervasive consciousness becomes one with his creation. That undoubtedly is the most sublime concept of a poet.

5. Poetry raised to its sublime heights is mantra to which the Rishi gives utterance. It is said; the Rishi not only knows the mantra but also is the essence of it.

Kavi is the forerunner of Rishi in the Rig Veda. He is the wise seer. One cannot be a Kavi unless one is a Rishi (naan rishir kuruthe kavyam). However, not all Rishis are kavis. A Kavi is a class by himself.

6. Yasca_charya makes a very significant classification of the Rishis.He draws a clear distinction between a Sakshath_ Krutha_ Rishi, the seer who has the direct intuitional vision; and the Srutha_Rishi, the one who heard it from the seers and remembered what he heard.

6.1. The Kavi, the seer is the Sun (savitr, Agni) who shines by himself (swayabhu), who spreads light and life to benefit all beings. He is the great inspirer (sarvasya prasavita). The Kavis (mantra drastarah) envisioned the entities beyond the range of human senses and realized the Truth by direct intuition. They were the ones who had the direct intuitional perception and who conceived the self-evident knowledge (svatah pramana). The Kavis, the seers were “the hearers of the Truth” (kavayah satya_srurtah).

Sri Aurobindo described Shruti as “divine recordings of the cosmic sounds of truth” heard by the Rishis. The Vedas are thus Sruthis, revealed scriptures. That is the reason; the Vedas are Apaurusheya, not authored by any agency.

6.1.1. It is preciously because of those reasons, Sri Aurobindo emphasized that Vedas have a deeper, esoteric meaning apart from their superficial meaning.

6.1.2. Vamadeva, an unusual Rishi, in one of his hymns (RV 4.3.16) describes himself as illumined; expressing the Truth reveled to him (ninya vachasmi).

Rig Veda mentions about four hundred Rishis and about twenty-five of them were women.

6.2. The Srutha_rishi, in comparison, is like the mirror or the moon that basks in the glory of the sun (kavi). The moon and the mirror both take in the glory of the sun and put forth the shine to the world in their own way. The Srutha_rishi obtained the knowledge by listening to the Kavi and more importantly by remembering what he heard.

6.3. The bifurcation of the Vedas/Upanishads on one hand (as Shruthi, as heard) and the Vedangas, Sastras, Puranas, Ithihasa etc. on the other (as smriti, as remembered) stems from the above concept. Smriti, in general, is secondary in authority to Shruti.

***

7. A brief explanation about prathibha, before we proceed further.

7.1. Well, bha meaning light is at the root of prathibha; prati is a proactive term. Prathibha is generally understood as light that flashes within; perceived without the intervention of senses or the mind (logic).It is a direct perception.

7.2.That kind of perception (intuition) is not uncommon. Ordinary people in their day-to-day life experience it at times. However, it has neither intensity nor a sense of direction. In the case of Rishis or yogis, it is said, this natural gift is cultivated over years of sustained practice. It is therefore a more comprehensive, intense and direct understanding.

7.3. As it usually happens, there is no single term in English that brings out all shades of the meaning of prathibha. Perhaps one could use terms like genius, poetic genius, creative imagination, invention, inventive flash or intuition; or all of them. I preferred to use intuition, as I thought it was nearer to the Sanskrit term, and it was shorter.

7.4. A considerable bulk of literature has grown around the attempts to define prathibha (intuition or whatever term), its source, its relation to reality, its fulfillment etc.

This is particularly true in the Indian context. It is debated widely, not merely in Vedic literature but also in poetics, yoga (sadhana). Sri Aurobindo makes frequent references to this intuitional (super-sensory) force.

7.5. Bharatha, the author of the natya_shastra, while discussing about Rasa, its embodiment, its fulfillment etc.talks of the importance of prathibha.

7.6. The vedangas, nyaya, yoga and shaiva siddanthas, shaktha siddantha also employ the concept; but each has its own interpretation about the source, the role of prathibha.

***

8. Continuing the discussion on the dichotomy of intuition (prathibha) and memory (Smrithi or call back), centuries later the Indian scholars Ananda Vardhana (Kashmir c.860 AD) and Abhnava Gupta (Kashmir c.960AD) emphasized that intuition, inner experience was the lifeblood of good poetry.

They declared, creativity (karaka) was the hallmark of poetry as it brings into the world a new art experience. They said the poetic genius reinvents itself all the time (nava navonvesha shalini prathibha). Poetry need not aim to remind (jnapaka) what is already present; that they said was the function of sastras. A poet need not seek justification or approval of scriptural authority. He is the lord of his domain. He is the creator. They recommend, the poet need not allow himself to be bound by logic, propriety and such other restrictions.

9. There is, in fact, such type of poetry that disregards all restrictions. For instance, Bhanudatta, a scholar of poetics (c.15 century AD) describes three “out of world” (alaukika) types of poetry that totally disregard the mundane realities of the world.

Snapika, is a dream like creation beyond space, time or reason. There is utter disregard for reality. The poet creates a world of his own.

The second is Manorathika. It is a fantasy ride; the object is to realize unfulfilled wishes. Unlike in the first one the poet is not completely cut off from the reality. His wishes have some relation to the real world.

The third is Aupanayika, where poet describes the world as he sees or as it pleases him; and not merely the actual world.

9.1. According to Bhanudatta, the third (Aupanayika) is a more credible form of poetry. It offers scope for grafting the poet’s views on the reality without rejecting or condemning the world. It could be a fine blend of expressions that evoke sense of beauty, idealism (chamath_kruthi) and harsh reality (pratheethi).The poet could whisper into ears of the reader as his beloved does (kantha_samhitha). That, Bhanudatta says, is a subtle and a persuasive way of communicating with the reader.

9.2. He says certain things shine in contrast. For instance, a flash of kindness in a cruel heart; a pair of beautiful eyes in an otherwise ordinary face; smile breaking through the teary face of a little girl.

He was trying to say the world is not one-dimensional (eka_mukha). The world is full of opposites (dwandwa). The way you look at it and the choices you make; that is what matters.

10. Our poetic scholars described that the word and its meaning (vak, Artha) as the body of the poetry; the essentials such as rasa, dhwani (tone), merit as internal organs of poetry. Intuition (prathibha), they said, was the vital driving force. Without intuition (prathibha), they said, a poem would read like a “toll collector’s manual”.

11. Abhinava Gupta adds one more dimension to the issue in his”Dwanya_loka_lochana”.

He says prathibha may be a flash of enlightenment; but what sustains that vision is the “unmeelana_shakthi”. He refers to something that charges the mind, opens up or awakens the potent faculties.

Abhinava Gupta clarifies that prathibha is inspirational in nature and it does not transform itself, automatically, into a work of art or poetry. It needs a medium to express it self. And , that medium has to be cultivated, honed and refined diligently over a period to produce a work of class.

11.1. In this context, Abhinava Gupta mentions three essentials that a poet has to keep in view. They are Rasa (rasa_vesha), Vaishadya and Saundarya.

The Rasa concept is well known and I do not wish to elaborate it here.

The second one refers to clarity in thought, lucidity in expression and comfortable communication with the reader.

The third is the sense of poetic beauty about which the Alankarikas have produced delectable works. A good poetry can manifest, according to him, only when the delightful combination of these three essentials are charged or supported by prathibha.

He cites Valmiki and kalidasa as classic examples and states it is the wonderful combination of those poetic virtues and prathibha that sets them apart from the rest of the tribe.

12.. The fulfillment of poetry is Ananda, joy. It therefore needs a good reader (Sah_hrudaya) who can understand, appreciate, empathize and enjoy the beauty of the poetry. He is an integral part of poetic experience. Magha, the poet, said, a good poetry draws the reader towards it repeatedly and each time he finds in it a new source of enjoyment. He remarked the diction, ornamentation, structure and other virtues of poetry could shine only when poetic genius, the intuition, Prathibha, charges them.

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Posted by sreenivasaraos on September 1, 2012 in General Interest, Indian Philosophy, Rigveda

Tags: Kavi, poet, Rigveda, Rishi

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