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It is said; the Verses 11 to 15 give a mystic description of the Year and the Seasons. Let us commence with verse 11

Verse 11

द्वादशअरम् । नहि । तत् । जराय । वर्वर्ति । चक्रम् । परि । द्याम् । ऋतस्य । आ । पुत्राः । अग्ने । मिथुनासः । अत्र । सप्त । शतानि । विंशतिः । च । तस्थुः॥१.१६४.११ ॥

The wheel of Law, with twelve spokes goes round and round the heaven; it is not indeed to be decayed Here stand, O Agni, the seven hundred and twenty sons in pairs.

The theme of Aditya and the Time-element, as in verses 8 to 10, is continued here. And, the imagery of Wheel, in particular, is much repeated and described in many verses; such as: Verses of the poem: 2,3,12,13, 14 and 48.

It emphasizes the unchanging, age-less (नहि-तत् -जराय – Nahi-tat-jarāya), decay-less nature of the revolving wheel of time (वर्वर्ति–चक्रम्- varvarti-chakram); moving endlessly on its own, without friction.

The twelve-spoked wheel (द्वादशअरम्–चक्रम् dvadasaram-chakram) of Truth (ऋत) goes round the heaven; and never tends to wear out. It might be seen as though moving on the manifest plane; but, it, indeed, derives its momentum and dynamic energy from the unmanifest Eternal Universal Principle (Rta).

The rhythmic or the cyclic motion of all entities in the space is governed by the Time-Wheel principle.

This Time-Wheel is said to symbolize Aditya: Surya, the Sun.

The Sun is at the center of the well-regulated Cosmic system.

The twelve-spoked Aditya-mandala is compared to a wheel; having twelve spokes, which in turn, represent twelve months in a year (Samvathsara).

It is said; Seven-hundred and twenty (सप्त । शतानि । विंशतिः –sapta-satani-vimsati) sons in pairs (मिथुनासः mithunasah), abide in it. These sons are said to represent the two halves (day and night) of the three hundred and sixty days of the year.

A day and a night form a pair मिथुनासः -. The wheel with the twelve spokes is the year divided into twelve months. This goes on rotating for ever; and there is no deterioration for this wheel.

[ Some suggest; the term Twelve-spoked-wheel might possibly mean the twelve signs of the zodiac.]

Here, Rta is the Eternal Moral Law of the world, represented by the Sun , who is addressed as Agni, who in turn is identified with Fire, Vayu and Aditya, who constantly moves about

(Dr. Raja remarks: I am not sure why this is addressed to Agni, the Fire . Perhaps , Agni here stands for Aditya.)

Another explanation says:

Agni is Aditya; he is Prajapathi – the Lord; and, he in his dual nature of heat and cold (Grishma-Hima) – the Day and Night (अहोरात्र–Ahoratra)- manifests in succession. It is like the going up and coming down movement of the wheel (Udgarbha-Nigarbha). One could even say: it is an epitome or a representation in miniature of the Cosmic Cycle.

Dr. M .L. Raja interprets the verse 11 , reading as under to suggest it actually represents a Zodiac wheel

The arcs are twelve, the wheel is one and three are the axles. Who indeed knows it? Within it are collected three hundred and sixty spokes, which are as it were movable and immovable

Verse 12

पञ्चपादम् । पितरम् । द्वादशआकृतिम् । दिवः । आहुः । परे । अर्धे । पुरीषिणम् । अथ । इमे । अन्ये । उपरे विचक्षणम् । सप्तचक्रे । षट्अरे । आहुः । अर्पितम् ॥ १.१६४.१२ ॥

Father with five feet and twelve forms, they say, dwells in higher half of the heaven full of waters. Others say, he is the clear-seeing one who dwells below in the sevenfold wheel that has six spokes.

They call him the father, having five feet, having twelve forms, full of water, in the far side of heaven.

Then, there are others who call him as the all-seeing one, riding high in his chariot, which is having seven wheels and six spokes.

Sri Sayanacharya explains: the poet speaks of two alternative views.

One is that: Aditya, the primary cause (Purisa), when he is in the far side (Para-Ardha) of the sky (दिवः –Dyu-Loka), is termed as –पञ्चपादम् । पितरम् । द्वादशआकृतिम् –the five-footed, twelve-faced parent, Puriṣin – rich in water (the sun, as the source of rain). He is the God, placed high on the chariot, clearly seeing the world.

The five feet are the five seasons in a year (the dewy and cold seasons treated as one); the twelve forms are the twelve months, or the twelve Adityas (suns)-meaning the climatic appearances witnessed from month to month during the course of a year.

While, some others have termed him as अर्-पिता–Arpita, when he is in the hither or nearer part of the sky (Apara-Ardha) riding in his seven-wheeled chariot (सप्तचक्रे), each wheel having six spokes (षट्अरे), clearly viewing the whole world.

Here the term Arpita–adhīnam or parāyattam– is understood as one who is dependent upon; or is influenced by the course of the year; or by the recurrence of the solstices; moving quick or slow according to his southern or northern declination.

Father is the year (Samvathsara), with five seasons, each of seventy-two days, regulating his movement. And, the seven wheels are the seven rays, or the seven days of the week; the six spokes are the six seasons.

These are two conflicting views.

In one, Aditya, in his divine form, is the Lord of all the three worlds. This is his higher form.
In the other, he is under the control of Time; and is seen by the world as being subject to the rotation of seasons. This is his lower form.

The distinguished scholar David Frawley comments:

The five feet of the Father or the Sun are the five planets or five elements that these often refer to (which the Vedic thought associates five sense organs and five motor organs in human body).

His twelve forms are the twelve zodiac signs.

The sun in the higher half of the heaven with water is the signs of Leo with Cancer (ruled by the moon), with other five planets being the five feet, each ruling two signs. In Vedic thought, Sun is the abode of waters, which we can see in the Zodiac with the Proximity of Cancer and Leo.

The sevenfold wheel is the Zodiac moved by seven planets. The six spokes are the six double signs through which the planets travel

Verse 13

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

In that wheel having five spokes, which rolls on, all the beings stand out. Its axle, bearing immense load, does not get heated. Having its navel, it does not break, from the beginning itself.

The imagery of the Chariot (रथ), Time-wheel (चक्र), axel (अक्षः), nave (नाभिः) etc. is continued in this verse.

In the previous verse, the father had five feet and the chariot had seven wheels and six spokes. Here the wheel has five spokes. The beautiful poetic fancy of a chariot not breaking down even with immense load and not decaying in course of time is continued here.

In the man-made chariot, the nave and the axel cannot bear over weights; and, might even break down.

But, the eternal Time-chariot is beyond such limitations.

All the beings of the worlds rest in this five-spoked revolving wheel (पञ्चअरे– चक्रे– परिवर्तमाने – pañca-are -chakre- pari-vartamāne). The axel of the wheel though overburdened (भूरिभारः), with the heavy load of the cosmos, is never heated hot because of friction; it does not suffer any strain. Its lone compact nave, though ancient, does not wear out (न–शीर्यते)- (tasthuḥ– Bhuvan ani -Visva -Tasya na- akṣaḥ – tapyate)

The nave does not go through any alterations; nor does the axel. Only its limbs; such as year – (सम्वत्सर, परिवत्सर) etc. revolve; and appear again and again.

Dr. David Frawley says: The five-spoked wheel is again the Zodiac ruled by five planets and the five elements and their various internal and external correspondences.

Verse 14

सनेमि । चक्रम् । अजरम् । वि । ववृते । उत्तानायाम् । दश । युक्ताः । वहन्ति । सूर्यस्य । चक्षिः । रजसा । एति । आवृतम् । तस्मिन् । आर्पिता । भुवनानि । विश्वा ॥ ॥1.164.14 ॥

The wheel with the felly rolls on without decaying. The ten, yoked, draw it on the upward region. Like the Sun’s eye, it goes along, covered with the space. In it are all beings placed

This verse carries on with the symbolism of the revolving (विववृते–Vivarta) Cosmic Wheel, described as that which never decays (अजरम्–Ajara)

The wheel (circle), with its circumference, revolves without any deterioration – सनेमि –चक्रम् –अजरम्–वि–ववृते.

The ten yoked to the upper extension draw it. The eye of the sun moves along, laden with water; and, in it all beings reside.

The world rests on the Wheel of Time. Sun is the embodiment of all knowledge.

Sri Sayana explains:

The Ten, here, stands for ten organs of sense. Else, it might refer to five Lokapalas (Guardians of the world) together with five classes of human beings.

The upper extension may refer to the upper surface of the earth (uttānāyām) or the earth spread above (uparī vistṛta bh-myām) the Pole.

The orb or the eye of the Sun (sūryasya cakṣus) may suggest either the display of the nature or radiance of the sun, or his orb. The Solar orb is the eye of all of us – sarvasya cakṣuḥ sthānīyam vā maṇḍalam. It is through this we see everything.

Swami Amritananda observes:

The imagery of the chariot, wheel, axel, nave etc. is commonly used in the Upanishads in the context of the discussions on the Time-principle. Here also, neither the nave nor the axel undergoes any change.

Only the limbs, such as संवत्सर (Samvathsara -year), परिवत्सर (Parivatsara-seasons) revolve; and appear again and again.

Dr. David Frawley suggests:

This may again refer to the ten zodiac signs ruled by five planets, with each planet ruling two signs.

The eye of the Sun may be the sign Leo through which the solar influence pervades the Zodiac or just the Sun itself. The upward extension may be the polar region.

In astrology, the five personal planets are the Sun, Moon, Mercury, Venus, and Mars. Here are some zodiac signs that are ruled by more than one planet:

- Taurus and Libra: Both signs are ruled by Venus
- Gemini and Virgo: Both signs are ruled by Mercury
- Scorpio: In traditional astrology, Mars rules Scorpio, but in modern astrology, Pluto rules it
- Aquarius: In traditional astrology, Saturn rules Aquarius, but in modern astrology, Uranus rules it
- Pisces: In traditional astrology, Jupiter rules Pisces, but in modern astrology, Neptune rules it

Verse 15

साकम्जानाम् । सप्तथम् । आहुः । एकजम् । षट् । इत् । यमाः । ऋषयः । देवजाः । इति । तेषाम् । इष्टानि । विहितानि । धामशः स्थात्रे । रेजन्ते । विकृतानि । रूपशः ॥ 1.164.15 ॥

They say of the seventh among what are born together, that he is born as one, that the six verily are twins, the wise, born of gods. What are coveted by them, placed according to (their proper) position, move, changing in form, for the sake of him who stands by.

This verse is about seasons in a year.

Of the seven seasons, six are born together; the seventh is born singly. The other six, each of two-month duration, are twins (यमल–Yamala). They are sages born of gods. These Divine born Rishis are capable of movement. They are placed in their proper positions; and are endowed with desirable virtues, each according to its nature. Particularly made for their creator, they move in different forms. They revolve for the benefit of that which is stationary.

Sri Sayana explains:

Six are twins: six seasons, made of two months each. The seventh is the extra month; the thirteenth month in an अधिक–मास (Adhika-masa). It is not born out of the Sun (Aditya) or any other gods.

It is the seventh season.; born alone (एकजम्), as compared to other six seasons, which form a cluster.

The sets of these six seasons are differentiated by their class, character, temperature, produce etc (स्थात्रे–रेजन्ते) .

It is these six seasons, which appear and disappear, giving place to the next; and which are having varied forms (विहितानि–विकृतानि–रूपशः) , benefitting the world that are truly desired by all (इष्टानि). – चलन्ति जगत व्यवहाराय पुनः पुनरावर्तन्ते

According to Dr. David Frawley:

The Six born together are twins. These are the twelve signs; the two of which are ruled by one planet (considering sun and moon as a single planetary influence). The seven that is singly born is the single light that illumines all the planets. Elsewhere, Rig-Veda (10.64.3) speaks of Sun and Moon as twins (Yama) in heaven.

The planets are often associated with Rishis in Vedic thought, particularly Rishi Brihaspathi (Jupiter), Shukra (Venus) and Kashyapa (Sun) which became common names for the planets. The ordainer or the stabilizer may be the Polar star (polar point).

The 7 verses (16 to 22) speak of very obscure concepts, rather not possible to understand easily. These could be interpreted in any number of ways.

Here a new topic starts. There is some glorification of wisdom, enabling one to see and to know. One is not sure what they are. Though they are women, they are declared to be men.

Dhirgatamas poses the questions through dramatic doubts. He plays the drama of doubt through conflicting terms. He poses questions not because he does not know the answers. But, he does it just to dramatize his answers; by constructing riddles; spurring the reader to arrive at his own answers, which he might come to believe to be true.

In asking enigmatic questions, Dhirgatamas seems not to expect a simple or direct answer. Rather, he wants to make a point: that all the phenomena in the world are bound together by the pervasive relationship where each one is related to many.

Dhirgatamas did not present easy and ready answers to his riddle-like queries. He, instead, presented another enigma:

Even when Dhirgatamas supplies an answer to his questions, his answer could be interpreted in any number of ways.

Let us try.

Verse 16

स्त्रियः । सतीः । तान् । ऊँ इति । मे । पुंसः । आआहुः । पश्यत् । अक्षण्वान् । न । वि । चेतत् । अन्धः । कविः । यः । पुत्रः । सः । ईम् । आ । चिकेत । यः । ता । विजानात् । सः । पितुः । पिता । असत् ॥ 1.164.16 ॥

striyaḥ | satīḥ | tān | oṃ iti | me | puṃsaḥ | āāhuḥ | paśyat | akṣaṇ-vān | na | vi | cetat | andhaḥ | kaviḥ | yaḥ | putraḥ | saḥ | īm | ā | ciketa | yaḥ | tā | vi-jānāt | saḥ | pituḥ | pitā | asat ॥ 1.164.16 ॥

Them, being -women, they verily declare to me as men. One with eyes sees; the blind knows not. The son who is a poet, he knows this well. He who knows them well, they became the father of father.

They told me these were males; though they truly are virtuous females. He who has the eyes can see this.; the blind however cannot.

The son who is a sage can comprehend this truth. He, in wisdom, is indeed the father of his father; he discriminates and understands it all very well.

The verse brings up a very complicated and an interesting concept of Androgyny. It basically says, there exists in every individual the male as also the female characteristics. A person is truly an interplay of these two principles, which cohabit within everyone harmoniously.

The Vedic texts speak of another such interactive relation; as that between Agni and Soma. It is said; the nature of the Agni is that of existence, as well as that of its source and symbol. It is said; Agni is not merely Agni; he is also Soma. So also, is Soma. There is a constant interplay between Agni and Soma. In a way, both are two forms of Agni.

Agni is the warm outward breath; Soma is the cool inward breath. Agni (fire) is life, Soma is activity; Agni is the enjoyer, Soma is that which is enjoyed.

At times Agni becomes its own Soma, just as the Sun burns itself to radiate energy. When a substance has spread to its maximum size, it has to contract. Hence, Agni becomes Soma at each stage of its contraction. Soma falling into Agni itself is transformed into Agni.

The alternation of Agni and Soma provides the impetus for growth; for all beings which procreate, grow and perish in the yajna, the ritual of life. Soma and Agni together sustain and carry forward the life.

Rigveda also speaks about the One appearing as many; and the single egg splitting into Bhuta and Prana.

‘He, who is described as male, is as much the female; and the penetrating eye does not fail to see it’.

The male is only so much male as much he is female; and the female is only as much female as much she is male. The maleness and femaleness are the attributes contained within one frame.

ardhanari

Ardhanarishvara “the Lord Whose Half Is Woman” represents a transgendered being created by the union of Shiva (male) and Shakti (female). The Ardhanari form illustrates how the female principle of God-Shakti is inseparable from the male principle of God – Shiva. The Ardhanarishvara, above all, represents the totality that lies beyond duality.

Ms. Ellen Goldberg observes: The image of Ardhanarishvara does not merely present a synthesis of masculine and feminine gender traits, but rather attempts to portray a fundamental belief in the possibility of personal transcendence, usually understood as the attainment of non dual consciousness

The followers of Sri Vidya who worship the Sri Cakra too envision the deity as Mother Goddess.

It is explained the Sri Chakra is itself androgynous by its very nature . Bindu is Kameshwara, the ground of the universe; the Trikona is Kameshwari the mother of the universe. The union of the two is Sri Chakra, which in its androgynous form symbolizes the underlying unitary principle in all existence.

The Samayin school of Sri Vidya regards Shiva and Shakthi as one; Shiva becomes Kameshwara and Kameshwari becomes Shiva. The identity of Shiva and Shakthi is the foundation of phenomenal manifestation in order to create (srusti), preserve (sthithi) and withdraw (samhara).

In both the Shakta and Shaiva traditions of Tantra school, the Ultimate Reality is conceived as the Unity of Shakti and Shiva They are regarded as one.

Central to Tantra-faith is the concept of duality that culminates in unity; as being essentially non-dual (abheda). The one cannot be differentiated from the other. The Tantra ideology explains that Shiva-Shakthi are essentially two aspects of One principle. In reality, the whole of existence, the range of manifold experiences in the world are but the expressions of Shiva-Shakthi combine.

Following that principle , the Tantra believes that at the relative plane no one is just male; and, no one is just female. The elements of both sexes are present in each of us.

The Ardha-narishvara, in a way, represents this concept. Now, modern psychology, depth psychology particularly, also says that man is both man and woman.

Similar ideas appear in other cultures and other religions too. According to Zohar, considered the most important work of kabbalah or Jewish mysticism, the oneness of God is perceived in androgynous terms as the pairing of male and female; the former characterized as the capacity to overflow and the latter as the potential to receive.

The principle of Animus and Anima (half-male and half-female) is at the root of biological manifestation.

This phenomenon is now as widely accepted by modern scientists and Psychologists.

In order to illustrate this androgynous concept, Dhirgatamas employs the metaphors of the Sun and the Sun rays.

Many scholars have offered comments on the androgynous principle suggested in this verse.

Dhirgatamas noted that people whose vision lacked clarity had described some deities as masculine when they were actually feminine.

Truly they are feminine; but people say to me that they are male.
He who has eyes can see this; the blind one does not understand.
The son who is a skillful poet has understood this.
He who truly comprehends would be his father’s father.

The Sun (Aditya), considered as the father, gives birth to all this existence. He is the father of rays which emit light and also cause rains. The Sun rays pervade all life with their essence; generate, protect and sustain life.

The rays of the Sun have the male nature of impregnating life; and the female nature of nourishing life.

Beauty is associated with female; and strength with male. The sun rays are brilliant and beautiful; and they are also powerful.

Sun delights with rains in the season. He is the life and light. He is the father and the mother of all creation.

The Supreme Divine is neither female nor male; rather, it encompasses and transcends all gender distinctions.

One cannot see with the physical eyes. One needs to introspect and visualize this Truth through the discerning eyes.

Some might call the rays of the Sun (स्त्रियः– सतीः– Rashmi) as a male; though they are in fact females (स्त्रियः– सतीः). Having said that, it also true that they could be both male and female at the same time.

The verse says: those who are called males are, in fact, females too. This is true the other way also

As females, they carry water in their womb. And, as males (पुंसः), they impregnate the earth with water.

The Sun gives birth to his rays; which, in turn, fathers the life on earth. The sun, therefore, is the father of the father.

The poet speaks of the contrast between those who know and those who do not know the principles that govern our universe.

One who know those transcendental principle is wise. The one who doesn’t know is blind. He who knows is greater than anyone. He is the father of his father, meaning, he is wiser than his father.

Verse 17

अवः । परेण । परः । एना । अवरेण । पदा । वत्सम् । बिभ्रती । गौः । उत् । अस्थात् । सा । कद्रीची । कम् । स्वित् । अर्धम् । परा । अगात् । क्व । स्वित् । सूते । नहि । यूथे । अन्तरिति ॥1.164.17 ॥

Beneath of what is above, above of this that is beneath, the cow has stood up, bearing the calf with the foot. In which direction and to which half of the sky has she gone away? Where did she give birth? Not within the herd.

The cow, holding her calf underneath with her fore-feet, and then above with her hind-feet, has risen up; whither is she gone; to whom has she turned back when half-way; where does she bear young; it is not amidst the herd .

Some scholars opine that the intent of the verse is about the dawning of wisdom concerning the mysteries of the universe, its creation and progression. It is expressed through the allegories of Cow, Calf. Milk etc.

It could also be interpreted in any number of other ways.

The dawn is the cow, between sky (above) and earth (below). Cow has her calf at her heels as she kicks him away; she is alone because she has abandoned him.

The cow is the offering at the Yajna (हविस्); Calf is the Agni, beneath her fore-feet.

Sri Sayanacharya explains:

This verse could be interpreted in two ways:

1. Cow (गौः) is the offering (हविस् / हवन) made into the Yajna-vedi (sacrificial-altar). Or
2. Cow here represents the Sun-rays (सूर्य–रश्मी).

When the cow (गौः) means the offerings submitted into the sacrificial-fire (अग्नि-Agni), the performer of the Yajna (यजमान) is the calf (वत्सम्– child).

When the burnt offerings reach the Sun, they are transformed into his rays.

It might also mean the fruits of the Yajna that the performer gets (क्व–स्वित्–सूते).

And, if the Cow is identified with the Sun’s rays, then, the Agni ( अग्नि) is the calf. That is because, he is nourished by the offerings made into the sacrificial fire, just as a calf is fed by its mother – the cow.

It might also mean here that the performer of the Yajna –यजमान– is the calf; because, he is the one who reaps the benefits of the Yajna – क्व–स्वित्–सूते; and, by the virtue of which he attains the higher worlds.

Verse 18

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

One who knows the protector of this world (Agni), who is below; as being associated with the Sun, who is above, is indeed a sage. But, who in this world can expound it ? Where is such fortunate mind that can contemplate on God and realize the Truth ? !

This verse describes the ongoing relation between Agni, who is with us on the Earth (अवः – below) and Aditya, the Sun, the father, shining brilliantly in the Sky (परः-above), protecting the world (परेण–पितरम्).

Agni might glow at the night, while the Sun shines during the day.

Though they are located in different positions (above and below), they indeed are the two aspects of the same principle. They share between them the functions of protecting and sustaining the Universe.

It is, of course, not easy to understand(अनुवेद) this Truth. Only a fortunate, enlightened seer (कवियमानः) can realize and experience this inspirational Truth, in all earnestness.

But, where in this world can one find such a fortunate mind that can contemplate on God and realize the Truth ?!

– कः । इह । प्र । वोचत् । देवम् । मनः । कुतः । अधि । प्रजातम्

Verse 19

ये । अर्वाञ्चः । तान् । ऊँ इति । पराचः । आहुः । ये । पराञ्चः । तान् । ऊँ इति । अर्वाचः । आहुः । इन्द्रः । च । या । चक्रथुः । सोम । तानि । धुरा । न । युक्ताः । रजसः । वहन्ति ॥1.164.19 ॥

They who are recent, them they call ancient; they who are ancient, them they call recent. O Soma, them which Indra and thou have done, them carry they that look like being yoked to the pole of space.

He who knows the protector of this world as the inferior associated with the superior, and the superior associated with the inferior, he is, as it were, a sage; but who in this world can expound it; whence is the divine mind in its supremacy engendered

Who recognizes the father as beneath of what is above, as above of that is beneath — who, behaving like a poet, has explained this here? Whence has sprung up the god-mind?

Those who know, the sages, termed the descending (sun rays) as ascending. They also called the ascending as descending.

You, Soma and Indra together created the revolving planets. Those orbits go around the world like two horses yoked (धुरा) to a cart.

Indra or Aditya is the symbol of Father-principle; and also, of the heaven. Soma is like the Mother-principle, relating to Earth. They move together (वहन्ति) like two oxen drawing a wagon– । धुरा । न । युक्ताः । रजसः । वहन्ति.

The planets, rotating in their orbits, do change their relative positions. In time, what was above does come down; and; similarly, what was below comes up above. They are revolving round like a wheel.

So also do the Sun rays. They spread upwards (पराञ्चः); and, again they spread downwards (अर्वाचः). Thus, the rays of light change their relative position when they revolve as in a wheel (चक्रथुः).

This is the Law which regulates the rhythmic movement of the Time-Wheel; as also that of the individual life-cycles. It could also be compared to the mythical tree with its roots above [and the branches hanging down below.

It is important to recognize moving in opposite direction does not necessarily mean moving backwards; but, onwards on its own way, in accordance with their assigned routes and positions.

Dr. Raja remarks:

This verse is in continuation of the riddles (as in verses 15,17 and 18).

In this verse to there is a reference to some mystery.

What exactly the poet had in his mind when he speaks of ancients and modern and of above and beneath, we do not know.

This has to be related to the reference to father and son, sometimes the son being wiser than the father (verse 16). In this verse also the mention of Indra and Soma indicate the close connection of this philosophical hymn with ritualism.

Verse 20

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

Two birds – of graceful flights, looking alike and united to each other by close friendship – take refuge in the same tree. Of the two, one eats the tasty berry; the other, without eating, merely looks on.

This verse brings up again the well-known doctrine of Suparna-Vidya, which is picturesquely described in Rigveda as also in the Upanishads and the Samkhya texts.

Two inseparable-companion-birds (द्वा सुपर्णा) rest on the branch of the same tree(सयुजा–सखाया–समनम्); They look alike (समानरव्यनौ) and are always together (सहैव–सर्वदा–युकतौ); and can fly gracefully. Of the two, one enjoys eating the tasty berry; the other, without eating, merely looks on (अभि– चाकशीति).

The same verse and the same metaphor appear in Mundaka Upanishad (3:1:1) and the Svetashvatara Upanishad (4:6). They also present the metaphor of two birds (Dva Suparna) perched on the same tree; one active and enjoying the fruits; the other bird merely looking on and doing nothing.

द्वा सुपर्णा सयुजा सखाया समानं वृक्षं परिषस्वजाते। तयोरन्य: पिप्पलं स्वाद्वत्त्यनश्नन्नन्यो अभिचाकशीति॥
समाने वृक्षे पुरुषों निमग्नोऽनाशया शोचति मुह्यमान:।जुष्टं यदा पश्यत्यन्यमीशमस्य महिमानमिति वीतशोक:॥
यदा पश्य: पश्यते रुक्मवर्णं कर्तारमीशं पुरुषं ब्रह्मयोनिम्।तदा विद्वान्पुण्यपापे विधूय निरंजन: परमं साम्यमुपैति॥
– Mundaka Upanishad

In the Upanishads, the active bird represents a self-involved and identified with the world; the inactive bird represents that other mode of being human that neither claims nor rejects the world, remaining ever aloof and hence always free.

In the Brihadaranyaka Upanishad (3:7:23) Uddalaka Aruni calls the on -looking bird as:

The unseen Seer, the unheard Hearer, the un-thought Thinker, the un-understood Understander…the Self (atman), the Inner Controller (Antaryamin), the Immortal (Amrta)

yaḥ pṛthivyāṃ tiṣṭhan pṛthivyā antaro yaṃ pṛthivī na veda yasya pṛthivī śarīraṃ yaḥ pṛthivīm antaro yamayaty eṣa ta ātmāntaryāmy amṛtaḥ || BrhUp_3,7.3 ||

Each School of Indian thought has interpreted the metaphor of two such birds, each according to its inclinations. For instance, the Bhagavad Gita (13: S) identifies the bird that eats and enjoys as the field (kshetra) and the other as the filed-knower, the foundation (kshetrajna).

The relation between the unseen seer (kshetrajna) and the field (kshetra) forms an important issue in the Samkhya Darshana, the Samkhya way of seeing.

Sri Sayanacharya coments:

The tree is the Tree of Existence. The two inseparable-companion-birds bound together (समानयोग) by friendship (सयुजा–सखाया) represent the supreme spirit-परमात्म Paramāthmā, and the vital spirit- जीवात्म– Jivāthmā.

These principal entities are graphically picturised using the metaphor of the two friendly birds resting on the branch of the same tree (समनम्–वृक्षम्).

Both Jivathma and Paramathma dwell in the same body. The former enjoys the fruits-rewards of action; while the other is a mere passive spectator. The Jiva, which is attached to the world (Samsara) is subject to delusion (मोह); while the Soul (आत्मन्) flies freely, without any attachment.

The bird represented as the vital-spirit eats the sweet fig (पिप्पलम्–स्वादु–अत्ति pippalam-svādu-atti), enjoying the rewards of acts- dvau-pratiṣṭhitau-sukṛtau dharmakartārau.

The other merely looks on, passively, without eating (अभि– चाकशीति).

Dr. Raja explains:

This verse is accepted as the foundation of the Vedanta Philosophy dealing with the nature of the Soul, both individual and supreme and their relation mutually. The individual souls eat (enjoy and suffer) while the supreme soul just shines. But this is not supported by the general trend of thought in the Rigveda. There is no hint of a Supreme Self in contrast to the individual souls, in the Rigveda.

Geldner says that the reference is to the two kinds of seekers after knowledge, some enjoying wisdom while others simply look on without knowing. In Vedanta, the tree is the Universe. But Geldner takes it to mean Wisdom. The meaning would then be,

“Two sets of people resort to wisdom; one of them realise it and enjoys it, while the other, does not realize it and simply stares.”

I accept the contrast between two sets of people in this Universe, those who know and those who do not know. Those who know enjoy, while the others who do not know, simply look on in amazement.

But the tree can be only the Universe. The contrast between those who know and those who do not, is found elsewhere in this poem; see verses 5,6 and 16 above. The point is found in verse 22 below, also.

***

The term Suparna literally means -one who has strong wings.; and, flies gracefully. It could be a strong-winged bird like Garuda; or it may also mean Surya, who moves rhythmically across the sky.

CONTINUED

IN THE

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References

Who Was Dhirgatamas – Part Three

06 Jul

Continued From Part Two

Asya Vamasya sukta forms section 164 in Book 1 of Rig Veda, and, it consists 52 hymns. It is dedicated to several deities; and is composed in different meters.

The author’s name is Dhirgatamas-Auchatya (दीर्घतमस्– उचथ्य) *; so, says the text at the beginning of this section as codified by Sri Sayanacharya, who lived in the 15th century as a minister in the Vijayanagar kingdom. His compilation and interpretation are the definitive and authoritative text-sources for most of the later translations. Even the recent translation and commentary by Swami Amritananda is based upon Sri Sayana’s Bashya. *[At times, he is also called Dhirgatamas-Mamateya-ढीर्गतमस् ममतेय ]

Dr. Kunhan Raja’s translation is based upon these two commentaries.

The Text is assigned its title using its commencing words

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

asya vamasya palitasya hotus tasya bhrata madhyamo asty asnah trtiyo bhrata ghrtaprsAo asyatrapasyam vispatim saptaputram ॥१॥

Asya Yamasya Hymn: Dr C Kunhan Raja: Free Download, Borrow, and Streaming: Internet Archive

Dr. Kunhan Raja explains:

On the whole, Dhirgatamas and his real inspired vision had a very great role in shaping Indian philosophy. His commendable knowledge in spirituality, and his extreme talent in poetry; and his inspired gift of vision stand unparalleled even to this day. No doubt that is why he is confident that none other than a wise poet can even hope to interpret his poems. To date, none has been able to fully decode his poems; at least the Asya vaamasya poem (RV 1.164).

Even his Ashvamedha poem is one of a kind; – perhaps a pun (स्लेश–Slesha), a satire of a ritual. His poems on Ribhus (ऋभु,) are another masterpiece. Even his metaphor poem on the horse-sun is much exquisite and unparalleled in its beauty.

[ Ribhu (ऋभु) in Sanskrit, broadly means Skilful, clever, prudent (as an epithet of Indra, Agni, Aditya) ऋभुमृभुक्षणो रयिम् (ṛbhum ṛbhukṣaṇo rayim) Rigveda 4.37. In early stages of the Vedic literature, it referred to Sun- deity.]

Now; let us commence with the famous hymns presented in the text Asya Vamasya Sukta. Please also refer to its translation and commentary by Dr. Kunhan Raja.

Verse 1

The poet starts with the mention of “a beloved invoker grown grey, with his two brothers, who is the Lord, and father of seven children” (verse 1).

अस्य । वामस्य । पृषतस्य । होतुः । तस्य॑ । भ्राता । मध्यमः । अस्ति । अशनः | ततीयः । श्रातं । धृतऽपुष्ठः । अस्य॒ । अत्रं । अपर्यम्‌ । विदपतिम्‌ । स्तऽपुत्रम्‌ ॥

Of this beloved invoker, grown grey — of him there is the middle brother, the all-pervading; his third brother is the one who bears ghee on his back. In them I saw the Lord of the People with seven sons.

The poem concludes with a prayer to “the swift-moving divine bird, the majestic bird (Sun), producer of water, which gives life to the herbs; he who brings happiness with timely rains,” for protection, (verse 52).

दिव्यम्‌ । सुऽपर्णम्‌ । वाय॒सम्‌ । बृहन्तम्‌ । अपाम्‌ । ग्मम्‌ । ददतम्‌ । ओष॑धीनाम्‌ । अभीपतः । वृष्टिऽभिः । त॒पै्यन्तम्‌ । सरसन्तम्‌ । अवसे | जोहवीमि ॥ १.१६४.५२

The divine bird, the great bird, the child of waters, of herbs, worthy to be seen, who brings satisfaction with rams in the rainy season, that Sarasvati I invoke again and again for protection.

Dr. Raja remarks:

The one supports the six regions; the one stands upright and supports three mothers and three fathers: those who have eyes can see this underlying truth.

I do not find in this philosophical hymn merely some anticipations of philosophy. These are not loose ends of broken threads.

One can trace a continuous stream of thoughts. I see a beginning and a conclusion in the poem, consistent with each other, and with a continuity in the current of thought. The poet has presented a full picture of things that are hidden from the understanding of the ordinary people.

The first Mantra pictures the symbolism of the three brothers, the three luminaries in the regions; the three forms of fire : Agni, Vayu (Air) and Aditya (Sun).

Yaskacharya explains that there is indeed only One Deity; and, that Deity manifests in the three worlds as Surya (Sun) in heaven (Dyu-Loka); Indra or Vayu (wind) in the middle region (Antariksha); and, fire on the earth (Bhu-Loka). They are the basic foundations of our existence.

Of these three brothers; Aditya (Sun) shining in the sky, the protector (पलितस्य) of the Universe, who is worshipped by all (वामस्य), is the Supreme. He is accompanied by seven sons (सप्तपुत्रम्), who are not different from himself (his seven rays of seven colours).

The three brothers or the three aspects of Agni (Agni-traya) form the Tripod of Life. They exist and function together.; and, are the basic factors of our existence.

Verses 2 and 3

Immediately after referring to the “beloved invoker grown grey” in verse 1, the imagery of a chariot has been presented; perhaps suggesting movement or the progression of the world emerging out of the first cause.

It brings in many terms having symbolic connotations: Chariot (Ratha); Chariot with single wheel (Eka-chakra) and having three naves (Tri-Nabhi); the seven who yoke it; and, a Horse with seven names.

These metaphoric imageries have been discussed by many scholars and interpreted in various ways; each according to the ideologies of the School of thought to which he is affiliated.

सप्त । युञ्जन्ति । रथम् । एकचक्रम् । एकः । अश्वः । वहति । सप्तनामा । त्रिनाभि । चक्रम् । अजरम् । अनर्वम् । यत्र । इमा । विश्वा । भुवना । अधि । तस्थुः ॥॥ १.१६४.०२ II

The seven yoke the one-wheeled chariot; one horse having seven names draws it. The wheel has three navels, never gets old, is never overcome, in which have been remaining all these beings

इमम् । रथम् । अधि । ये । सप्त । तस्थुः । सप्तचक्रम् । सप्त । वहन्ति । अश्वाः। सप्त । स्वसारः । अभि । सम् । नवन्ते । यत्र । गवाम् । निहिता । सप्त । नाम ॥॥ १.१६४.०३ II

Which seven have been remaining on this chariot with seven wheels, those seven horses draw it. The seven sisters utter forth songs together, where are concealed the seven names of the cows.

They yoke (युञ्जन्ति) seven horses to the one-wheeled chariot (रथमेकचक्रमेको); and, one horse having seven names (सप्तनामा) draws it along. The wheel has three naves, never gets old, is never overcome. And, in it all the beings and regions of the universe abide.

The chariot is said to represent the cosmos, wherein all the worlds reside; as also the human body, which is conceived as a moving chariot.

Again, it is also said; the chariot represents the universe and its creative process, symbolized by its movement. Its wheel is the symbol of its mobility (Gati). The one horse with seven names is the Time (Kaalo Ashvo vahathi sapta-rasmihi – AV.19.53.1). Its passage provides movement to the creative process.

The sun is compared to a chariot wheel; so is the sky. And, elsewhere the body is compared to a chariot, with the mind as the rein; the sense-organs as the horses; and, the Self as the charioteer.

The single-wheel of the chariot is said to symbolize the basic unity that is essential for propelling along the diverse creative processes of the universe.

[Yaskacharya compares the wheel to the Year (Samvathsara), which rotates endlessly. It may have three distinct periods of Time; Past(भुत)-Present(वर्तमान)-Future (भविस्यत्). Thus, the Time shines in a threefold manner-Trida Nabhati.]

Seven horses, having seven names, are yoked to the chariot. These seven horses are really the same, the difference being only in their names.

Seven sisters ride in it. These seven sisters could either be the seven solar rays , which move in unison like sisters; or the seven portions of a year: Ayana (solstice season), month, fortnight, day, night, hour; seven horses. It might even refer to seven types of speech.

Or, if the term Gavām (गवां) is used in the sense of water, it might mean the seven divine rivers (sapta-sinddhuva) of the Vedic region.

The seven horses could also be compared to the seven rays of the Sun. It may also mean Seven seasons in a year [as per Sri Sayana -six regular seasons and one extra month in the year (अधिक मास –Adhika-masa)].

There is no beginning and there is no end; but there surely is a constant change or transformation that can be felt. Each season has distinctive patterns of weather changes; plant and animal activities; each period with its own special purpose.

The seven rays of the Sun are indeed its seven limbs. And, the seven seasons of the year are the imagined divisions of the invisible Time. The Sun and the seasons are in fact One.

The Sun regulates the time, in which all its movements are encased.

Dhirgatamas uses the extended metaphor of human life span in terms of wheel imagery. This illustration is repeated in the later texts.

The hymn is composed as a riddle (Brahmodya)* with the answer phrased in pun (Slesha-alankara). It describes the ageless cosmic wheel of order, Rta, revolving continuously across the firmament. It is also harmonized with time, involving three naves (three seasons- summer, rainy and winter- through which cycle –Samvatsara-Chakra– the years rotate) and twelve spokes (months).

[ * Brahmodya class of poetry is speculation clothed in riddles and allegories about the wonder of nature, human life, time, language and their interplay. Here, Brahman refers to the statement of truth concerning the symbolic (hidden) connection of things; and the homogeneous net-works established by Yajna.]

The speculative attribute of this wheel is that though it revolves ceaselessly since the times unknown, it is not destined to age, break up or decay (Ajara). Thus, it is faultless (Anarva), devoid of destruction and end. Its aspect is that of subtle unmanifest principle, which is eternal (Sukshma-deham-ashtriyokam).

The world mounted on the cosmic wheel is also subject to rotations. But it is conditioned by aging and decay. Its relation to death and disease is expressed through its mortal aspect – mruthu-bandhu – bound to death- (Sthula-deham-ashritya).

Prof. Wendy Doniger, in her book The Rig Veda An Anthology (Penguin Books) explains:

Working with the implicit and explicit patterns woven into the hymn, it might be possible to decode the hymn.

The sun is often identified with Agni, who is mentioned in the hymn at several points: he is explicitly identified with the One (46); he appears in three forms (1); and he has names that are like long hair (44).

Agni lurks behind other images: he is, like the sun, the first-born child of Order (11, 37, 47) or Truth (cf. 10.5.7) ; and is born of the waters (52).

The interaction of the sun and the waters makes sense of a number of obscure references to a Vedic theory of the rain cycle: the rays of the sun (cows) drink up earthly waters with the lowest point of the ray (the foot) and then give back rain (milk) from their top (head) after they carry the moisture back up to the sun (7, 47, 51, 52). The sun is thus clothed in the waters (7, 31).

The relationship between the sun and the sacrifice (through the concept of the yearly solar renewal and yearly sacrifice) is present in the number symbolism linking the chariot (of the sun) with the sacrifice (as in the extended metaphor of 10.135, the opening verse of which is echoed in verse 22 of the present hymn).

The seven horses or sons or embryos are seven priests or offerings, the three or six or have naves or spokes are seasons (variously enumerated in different sacrificial reckonings), the twelve are the months, the 360 the days of the years (the 720 the days and nights in pairs), and so forth.

Verse 4

In the first three Riks (verses) the Sun and the Time-element are described as being responsible for the sustenance of all the worlds. The next verse goes back to the period before the creation. It poses a series of questions.

This verse is in the Brahmodaya format, posing questions; and, encouraging the student to introspect, to explore and to arrive at credible answers.

कः । ददर्श । प्रथमम् । जायमानम् । अस्थन्वन्तम् । यत् । अनस्था । बिभर्ति । भूम्याः । असुः । असृक् । आत्मा । क्व । स्वित् । कः । विद्वांसम् । उप । गात् । प्रष्टुम् । एतत् ॥ ॥ १.१६४.०४ II

Who has been seeing the first-born possessing bones, which what has no bones has been bearing? Where then is the life, the blood, the self of the Earth? Who went near the wise to ask this?Who has seen him at the time of his being born (को ददर्श प्रथमं)?

- Who was there even before creation?
- Who has seen the first formation of all that exists around us?
- Where then is the life, the blood, the self of the Earth?
- Who went near the wise to ask this?
- Has any inquisitive person, desirous of knowing the origin of the world, approached a true -knower of the cause of all this existence?

The latter part of the verses concerns the three fundamental elements of living: Blood (असृक् Asṛk); Life (असुः– Asuḥ); and Spirit (आत्मा– Atmā).

The verse also talks about that which is endowed with substance; that which having bones, having a form (body); and, about that which is bone-less, form-less (sprit) – asthanvantam yad anasthā bibharti.

The question is about the source of these subtle and gross bodies, which are related with the Earth Bhumi), a symbol of Motherhood, which supports us.

The breath and blood may be from the Earth. But, where does the soul come from?

Who seeks and answer to these questions?

Where is the teacher who knows; whom one may approach, ask him questions?

– कः । विद्वांसम् । उप । गात् । प्रष्टुम् । एतत्

Verse 5

पाकः । पृच्छामि । मनसा । अविजानन् । देवानाम् । एना । निहिता । पदानि । वत्से । बष्कये । अधि । सप्त । तन्तून् । वि । तत्निरे । कवयः । ओतवै । ऊँ इति ॥ १.१६४.०५ II

I the unripe, without knowing by my mind, ask about these positions of the gods that are concealed. Over this young calf the poets have spread the seven threads, aye to weave

Immature (पाकः) as I am, I ask (पृच्छामि) questions to one who knows the Truth (अत्र॑–क॒वीन्– पृ॒च्छा॒मि॒ –वि॒द्मने॑) about things that are hidden even from the gods. what are the seven threads (सप्त तन्तू), which the sages have spread to envelop the sun, in whom all abide?”

Here, Surya is called a calf.
The sages spread seven threads woven upon the young calf.
Which is this calf?
What are the seven threads?

It is suggested that these threads might refer to seven forms of the soma sacrifice, or the seven metres (chhandas) of the Vedas.

The Sun is said to be at the center of a well-arranged Cosmic System; and the whole world is a garment that envelops the center. This is conceived a as a cloth woven with Seven-threads.

The purpose of the poet is to bring together, in a compact set of verses, a number of Vedic Doctrines concerning the Universe, Cosmology and the Time-principle.

The Universe and the individual are interrelated.

It is also said: As per the ancient practice, a cloth of seven threads is woven year after year. And, each year a new Calf is brought altar for worship. This practice may have roots in the mythical tales, where the sun is rejuvenated each year.

Why is Surya called a calf? Dr. Agrawala explains: Surya is the son of Viraj, the universal Mother Cow; and , when the Cow comes to mortals , she always brings the Calf with her (RV.1.164.17).

But Sri Sayana says: the cow may typify the solar rays collectively and the calf the worshipper.

Dhirgatamas cries out: I earnestly desire to know the Truth (पृच्छामि विद्मने.) I seek a teacher who can unveil the Truth.

Verse 6

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

Not having seen, I ask the poets who have seen, for the sake of knowing, not having known. Who has held apart firm these six regions, what then is that One, in the form of the unborn?

This is in continuation of the questions raised in verse 5, where the poet speaks about the beginnings of the formation of the six regions of the physical world from the unborn ultimate reality. He employed the imagery of seven threads that hold the young calf.

They all refer to the emergence and formation of the physical world from out of the unmanifest ultimate reality.

Not having seen, not having known; and, for the sake of knowing, I ask the sages (Kavis) who know the Truth and who have seen: Who is this mysterious unborn one; the One that has established and held firm these six regions. What then is it?

[Sri Sayanacharya explains: The tradition counts seven regions (Lokas); the seventh being the Sathya-Loka, which is beyond the uninitiated, tied to the mundane world of rituals. The other six Lokas (shad-rajamsi) which are said to be created by the movement of the Rajo-Guna are: Bhu (Earth); Bhuvaha (Mide-region); Followed by Four types of Heavens: Suvaha (Heaven); Mahaha; Janaha; and Tapaha.]

As regards the phrase अ॒जस्य॑ । रू॒पे । किम् । अपि॑ । स्वि॒त् । एक॑म्, Sri Sayana says term Ajasya (Aja- the unborn) refer to Aditya, the eternal one, who has created seasons according to the period of the year

This and the previous Mantras wonder about the formation of the existence from out of the unborn, non-existent, ultimate reality.

Verse 7

इह । ब्रवीतु । यः । ईम् । अङ्ग । वेद । अस्य । वामस्य । निहितम् । पदम् । वेरिति वेः । शीर्ष्णः । क्षीरम् । दुह्रते । गावः । अस्य । वव्रिम् । वसानाः । उदकम् । पदा । अपुः॥१.१६४.०७॥

Let him declare here who surely knows this—the con[1]cealed position- of this lovable bird. From his head the cows draw milk; they have been drinking the water with their foot, wearing the vesture

Let him, who surely knows the Truth, declare here (इह ब्रवीतु)— the concealed position of this lovable bird (वेदा॒स्य–वामस्य). From his head the cows draw milk; they have been drinking the water with their foot, wearing the vesture.

The Sun, Aditya, who is constantly moving has an attractive luminous form. His rays emanating from his shining abode, concealed (निहितं) in the high skies (शी॒र्ष्णः), pour rains on to the earth. And, the same rays (गावः॑) absorb back those waters (उदकं) through the very path (पदा) they poured the rains.

[ Dhirgatamas employs here the imagery of cow (गावो) and milk (क्षीरं) to suggest sun-rays and rains that sustain life on this planet. The rays of the Sun (cows) absorb fluids from all sources, including vegetation; and, convert them into life-giving milky substance (rains) that generates and protects life.

Similarly, the ordinary cow too drinks water; and converts it into the precious life-nurturing milk.

The Earth too is also a sort of Mother Cow. It absorbs rains and gives life to vegetation, which sustains our lives.

Similar is the sun-rays, they shine, give light and heat; take away moisture from the Earth; and then send back life through rains.

This analogy is extended to the relation between the senses and human body. The physical body consumes food, which nourishes the mind (brain); which again controls the body mechanism

Thus, the metaphors of cow-water-milk seems to hold good in a number of cases.]

The Universal-Cow-principle (Gauh-tattva) was seen as a symbol of the Thousand-syllabled speech

Vag va idam Nidanena yat sahasri gauh; tasya-etat sahasram vachah prajatam –4.5.8.4.

Vac (speech) is depicted as a milch-cow that provides nourishment; and one which is accompanied by her calf. She constantly cuddles her calf with great love, and lows with affection for her infant

In the traditional texts, Vac, which expresses the wonders and mysteries of the Universe, was compared to the wish-fulfilling divine cow

dhenur vagasman, upasustutaitu –RV. 8.100.11.

Thus, Gauh-Vac is symbolically portrayed as cow. It is hailed in the Rig-Veda (8.101.15) as the mother principle, the source of nourishment (pusti) of all existence; and bestowing immortality (amrutatva).

[ Commenting upon verses 4-7, Dr. Kunhan Raja explains:

These four verses form a unit. Who has seen this mystery of the first formation of the universe? Who can go and ask about this? And where is the location of that mystery? This is the general idea in verse 4, after describing the chariot and the wheel and the various things concealed in the chariot or its wheel (in verses 2 and 3). The same question is repeated in the next verse.

The poet changes over to the first person. He asks about the concealed position of the gods. The poets have woven some mystery (verse 5). Poets know who gave form to the universe (verse 6). The milk drawn from the head, and the drinking of water with the foot are also puzzles in verse 7.

Here there is a mention of the concealed position of “this lovable” bird. The same words, used as in verse 1, show that there is some relation between that of which there are the brothers (verse 1) and the bird whose position is concealed (verse 7).

The close relation of ideas must also be noted as: where all these beings stood (verse 2), the incorporeal bears the corporeal (verse 4), and who has held firm the six regions in the form of the unborn (verse 6).

Then there are the parallels like: one horse with seven names draws the chariot (verse 2), where the seven names of the cows are concealed (verse 3), and these concealed names of the gods (verse 6).

There is also the antithesis of the poet who is the author and who does not know and the poets who know, mentioned in verse 5 and verse 6. Certainly, the poet had been thinking of some mystery of the universe, its origin and the distinction between the formed and the formless. The cows draw milk from its head (verse 7), the secret names of the cows (verse 3); in the young calf (verse 5). Here also there are indications of some common idea about cows.]

Verse 8

माता । पितरम् । ऋते । आ । बभाज । धीती । अग्रे । मनसा । सम् । हि । जग्मे । सा । बीभत्सुः । गर्भरसा । निविद्धा । नमस्वन्तः । इत् । उपवाकम् । ईयुः॥ १.१६४.०८ ॥

The mother has been giving the father the share in the Rta indeed, she has been coming together with thought and with mind, in the beginning. She is timid, having the juice within, being hit into. There they came bearing adorations, to address nearby.

The mother, (माता -earth), worships (बभाज) the father, (पि॒तर॑म् -Sun), with holy rites (Yajnas), for the sake of water; but he, in his mind, has anticipated (her wants); whereupon desirous of progeny, she is penetrated by the dews of impregnation (गर्भरसा), and, (all) expectant of abundance, exchange words (of congratulation).”

The earth is usually the mother; and the heaven is the father. The term Dhiti (धीती) is Dhyana– intense contemplation. Manas (मनसा) is thought. The mother went close to the father. She was shy (बीभत्सुः) and full of joy.

The earth is drenched (उपवाकम्) by the rain-waters, enabling it to produce crops and also to generate and sustain life.

[Sri Sayana opines that in this verse, a conjugal relation between the Earth and the Sun is imagined. Mother Earth desires water for production; approaches the Sun, who satisfies her with heat, light and rains. These elements unite the Earth (उपवाक)with the Sun.]

Verse 9

युक्ता । माता । आसीत् । धुरि । दक्षिणायाः । अतिष्ठत् । गर्भः । वृजनीषु । अन्तरिति । अमीमेत् । वत्सः । अनु । गाम् । अपश्यत् । विश्वरूप्यम् । त्रिषु । योजनेषु ॥१.१६४.०९॥

The mother was tied on to the yoke of the right side; the womb has been remaining within the water-cloud. The calf lowed, looked towards the cow having all forms, in the three expanses of space.

The Dyu-Loka, the mother of all creations, (sky), was engaged in her duty of sustaining and protecting the earth, which fulfils all her desires (युक्ता–माता–आसीत्). The embryo (water) rested within the womb of the clouds. And, as soon as it was delivered, the calf (water) bellowed (made sounds while raining), and beheld the cow (earth) with its forms (अनु –अपश्यत्), in its three combinations (त्रिषु । योजनेषु) of the clouds, the wind and the Sun-rays.

Dr. Raja writes: The idea of a union of the mother (माता) and the formation of a Garbha (गर्भः – womb or pregnancy), is clear in the first half. In the second half, there is mention of the calf (वत्सः) that bellowed (अमीमेत्) and looked (अपश्यत्) at the Great Mother Cow (दक्षिणाया), which had countless manifestations (विश्वरूप्यम्). There upon the clouds thundered.

It may perhaps mean: the rains (calf) met the Mother- Earth in its various forms, textures and colors; producing countless varieties of crops and vegetations, with the help of the clouds, the wind, and the rays of the sun.

[Sri Sayana comments: The calf bellowed; the cloud thundered; the all-protecting cow: viśvarūpyam gām triṣu yojaneṣu = the earth diversified by various crops in consequence of the co-operation of the cloud, the wind, and the rays of the sun.

in the early texts, the cow is compared to Earth as an exemplary symbol of Motherhood. She is the life-giving, nourishing Mother par excellence, who cares for all beings and nature with selfless love and boundless patience.

Further, the nourishing and life-supporting rivers too are compared to cows (e.g. RV. 7.95.2; 8.21.18). For instance; the Vipasa and the Sutudri the two gentle flowing rivers are said to be like two loving mothers , who slowly lick their young-lings with care and love (RV . 3,033.01)

– gāveva śubhre mātarā rihāṇe vipāṭ chutudrī payasā javete ]

[ The symbolisms associated with Father and Mother; Cow and the calf; keep changing.

The terms are context-sensitive. And, it is not easy to decode. To say the least; it is often confusing too.

For instance, in the previous verse: Father (पितरम्) stood for the sky; while the Earth meant the mother (माता). And, in the verse 9, the Sky (Dyu-Loka) is referred to as the mother of all creations.

Here, the clouds are the mother; and, water is its calf. It says, the calf, which was in the womb (गर्भः), as soon as it was delivered, bellowed; looked at (अपश्यत्) and met the Great Mother Cow (Earth), in her varied forms. All were happy.]

Verse 10

तिस्रः । मातॄः । त्रीन् । पितॄन् । बिभ्रत् । एकः । ऊर्ध्वः । तस्थौ । न । ईम् । अव । ग्लपयन्ति । मन्त्रयन्ते । दिवः । अमुष्य । पृष्ठे । विश्वविदम् । वाचम् । अविश्वमिन्वाम् ॥ १.१६४.१० ॥

Bearing the three mothers, the three fathers. One has been standing upright; they do not fatigue him down. Behind of that heaven they utter in a low voice the word that com[1]prehends all, that does not move all –aviśva-minvām

The three verses (8 to 10) form a group. They speak about the father and the mother; and of the womb and the calf. It is explained that the Three mothers( तिस्रः –मातॄः ) and three fathers (त्रीन् पितॄन् ) refer to the three worlds, Earth, Sky, Heaven; and to the three deities presiding over them (ऊर्ध्वः तस्थौ ) : Agni, Vayu, Surya, who are the protectors of the three worlds.

The gods (दिवः) chant (ग्लपयन्ति मन्त्रयन्ते) the glories of Aditya (Sun), Aja, the one who stands above all (ऊर्ध्वः-तस्थौ), in a language that can be understood by all (viśvavidam vācam aviśvaminvām); and also, in a language that many may not even know (a-sarvavyāpinīm).

It is explained: Aditya, on the summit of the sky, alludes here to the Time-element, which is eternal and indivisible. Everything is born and dies in Time.

Aditya, the Time, is perpetual and inseparable. It is absolute. The year (Samvathsara) is a unit of Time. The events such as: birth, growth and death are measured in the sub-elements of the year, such as: the months, weeks, days, Mahurtha, Kshna (seconds) , and Lava ( sub-units of a second).

Perhaps the main idea is continued in the following verses also.

The first ten verses are said to deal with zodiac- astrophysical – questions and the related speculations.

Many scholars have surmised that, in a way, these verses have cosmological implications. And the numbers – 3,5,7 and 12- mentioned there in; as also the references to horses, chariots, wheels and yokes are symbolic references to planetary positions and movements.

They also serve as code-symbols of metaphysical principles at several levels of this universe.

The meaning or the intent underlying these are elastic, amenable to be interpreted in any number of ways.

The celebrated scholar David Frawley, in his article on the Vedic origins of the zodiac hymns of Dhirgatamas explains: (the following are a few extracts)

The hymns of Dhirgatamas speak clearly of a zodiac of 360 degrees, divided in various ways, including by three, six and twelve, as well as related numbers of five and seven.

In regard to the planetary rulership of the twelve signs, Dhirgatamas shows the mathematical basis of such harmonic divisions of a zodiac of 360 degrees.

If we examine the verse, we see that a heavenly circle of 360 degrees and 12 signs is known, along with 7 planets. It also has a threefold division of the signs which can be identified with that of fire, wind and Sun (Aries, Sagittarius and Leo) ; and a sixfold division that can be identified with planets each ruling two signs of the Zodiac. This provides the basis for the Zodiac and the signs we have known historically. We have all the main factors for the traditional signs of the Zodiac, except for the names and symbols of each individual sign.

The number 3 (in verse 1) is said to refer to the Triad of three brothers – Agni on Earth; the wind (Vayu) in the mid region; and Sun (Surya), the symbol of Supreme Light, in the heavens.

The heavenly space has 7 astronomical bodies: the sun, moon and five planets.

The twelve signs of Zodiac are also divided in a similar manner. Aries or Mars ruled by the principle of Fire; then Sun or Leo; and Sagittarius the atmospheric wind ruled by Jupiter the god of rains.

The Vedic horse (Ashva) is the symbol of energy or propulsive force.

There is a mention to The Father with five feet and twelve forms. He dwells in the higher half of heaven full of waters.

It is surmised that it refers to Sun (father) and the five planets or the five elements. And, his twelve forms are the twelve Zodiac signs.

The Sun in the higher half of heaven is with the other five planets – being his five feet, each ruling two signs.

In Vedic thought, the Sun is the abode of the waters, which we can see in the zodiac by the proximity of the signs Cancer and Leo.

There is another reference to number 5. The poem says: Revolving on the five-spoked wheel all beings stand. Though it carries a heavy load, its axle does not over heat or break.

The five-spoked wheel is again the zodiac ruled by five planets and five elements and their various internal and external correspondences.

There are many places where the number seven occurs, alone and in combination.

The poem say that the seven yokes of the chariot have a single wheel (Eka-chakra). One horse that has seven names caries it. The wheel has three naves. It is un-decaying and never overcome, where all these beings are placed.

The Zodiac is the single wheeled chariot or circle yoked by seven planets which are all forms of sun or sunlight. It is the wheel of time on.

The sevenfold wheel is the zodiac moved by the seven planets. The six spokes are the six double signs through which the planets travel.

According to Dhirgatamas, the sun has ‘seven heroes’ for sons, and he rides ‘seven yoked chariot, one wheeled’,

The verse 14 says: The un-decaying wheel (circle) together with its felly (circumference), ten yoked to the upward extension carry it. The eye of the Sun moves encompassing the region. In it are placed all beings.

This may again refer to the ten signs ruled by the five planets, with each planet ruling two signs. The eye of the Sun may be the sign Leo through which the solar influence pervades the zodiac or just the Sun itself. The upward extension may be the polar region.

Verse 48 mentions a wheel having three naves. They are held together by 360 spokes, moving and non-moving

This perhaps refers to the zodiac of twelve signs and three hundred and sixty degrees.

The circle of the zodiac has twelve signs. It has 720 half degrees or twins, making 360 total.

The 360 spokes are the 360 degrees which revolve in the sky but remain in the same place in the zodiac. This may mean the 360 subdivisions within the 720:360 octave matrix.

The wheel is the year; the twelve spokes are the twelve months; the seven hundred and twenty children of Agni are 360 days and 360 nights of solar year.

The twelve spokes are twelve tones of an octave tonal-zodiac. The three naves may the three prime numbers ,2,3, and 5, each rotating in the sense of its own speed, correlated with the terminating number which includes all three along its factors.

In the subsequent instalments of this series,

let us briefly go through the remaining Verses of

Asya-Vamiya-Sukta

CONTINUED

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