topics: |  hindu | veda | | |

an important new look at the rg veda

a fresh look at the rg veda, not attempting to look at it as a code that
has to be deciphered, but as a living text, created within a certain
context, which required a better engagement with that context in order to
understand it.  

previous generations of scholars found much of the rig veda incoherent or
opaque, and felt that the organization was haphazard and unstructured.
here jamison and brereton, many of whose analyses look at issues such as
what may have been the motivation of the poet, and they look much more
seriously at traditional meta-information about the poems such as the
authorship lists (parts of this are fantastical, so the entire lists were
not considered seriously by many scholars).  they try to reconstruct the
possible motives of the different poets, and try to look at an
entire hymn as a coherent whole rather than verses stuck together.

the result is a deeper analysis that shows that with the right contextual
cues, each of the hymns appear seem to be coherent poetic constructions
than they have appeared in the past.

	one of the aims of this translation is to demonstrate that the
	hymns are unified, structured compositions and not merely
	collections of single verses randomly collected into hymns.  Our
	emphasis is on the integrity and structure of r^gvedic hymns, on
	the idea that the sUkta is the essential compositional unit...

and to achieve this goal, they also shy away from digressions that may
lead the reader away from the primary text of the hymn itself.  so they
do not have any footnotes - certainly not on the page, but neither at the
end of the book or anywhere.  instead, they provide a introduction to
each hymn, where they link up with other hymns and provide contextual
links.

they are very impressed with the skill with which these sUktas have been
composed, following strict rules of meter, while carrying a complex array
of conceptual apparatus intended for a poetry-literate audience.
the poems operate on a complex contextual basis which is difficult for
modern audiences to plumb, and J&B do a good job in holding our hands
through much of the seeming chaos.  

the nature of poetry in the rg veda

poetry is clearly an important part of the r^gvedic culture, and skilled
poets - often operating in teams - see 10.71 (hymn to speech, बृहस्पते प्रथमं
वाचो) - can be compensated well by their patrons, and these are often
catalogued in the dAnastutis:

	the compensation received from the patron is sometimes celebrated
	by the poet at the end of his hymn, in a genre known as dAnastuti,
	literally "praise of the gift," in which the largesse of the patron
	- cows, horse, gold, women - is catalogued and glorified.

but the poet operates under high expectations: 

	poets take great pride in their work and on their ability to use
	the tools of the tradition in innovative and creative ways.  They
	are self-conscious, naming themselves and addressing themselves,
	calling attention to their verbal tricks and achievements and their
	ability to bring fame and material success to their patrons and
	glory to their gods.

this leads J&B to look at every poem seriously, rather than dismissing
them as chaotic, ambiguous or meaningless as many others have done.   
sometimes they are able to come up with impressive analyses. 

among many other instances of such re-interpretive analysis driven by a
better understanding of context, we may cite this very
interesting analysis of the rather perplexing hymn, RV 5.44.  i
personally feel that they have a cogent argument in positing it as a 
riddle that is deliberately ambiguous between agni and soma.  the last
two verses which finally name the deities, are the solution, to be
eventually given - and may not have been a part of the initial
hymn given their different chhanda - though the triSTubh jagatI
alteration is not uncommon in the RV.

among the earlier translators, well-known works such as griffiths use
very dated understanding of the text (though many hindu sites continue to
inflict those translations on the reader) .  even wendy doniger tries to
argue for her positions using arguments that sometimes appear a bit
stretched to these authors.  J &B praise the work of h.d. velankar,
published out of bombay in the 1950s, which was difficult to access and
is hardly mentioned today.  velankar is hardly remembered, though he
did considerable work on a large body of sanskrit texts. 

 


----- 

Excerpt

maNDala V

[the sUktas in this maNDala are traditionally ascribed to the atri
family] 

only fourteen of the 87 hymns of this maNDala are attributed
to atri himself (27, 37-43, 76, 77, 83-86).  the majority of the hymns
were composed by Atreyas, descendants of atri, thirty-six of whom are
mentioned by the anukramaNI in maNDala V.  according to the anukramaNI,
only three of the Atreyas - vasushruta (3-6), sutambhara (11-14), and
SyAvAshva (52-59, 81-82) composed more than one or two hymns, and only
atri, SyAvAshva and avasyu Atreya (31,75) provided hymns to more than a
single deity or set of deities.  659

unlike vishvAmitra of maNDala VIII, the eopnymous poet is not a the major
poet of maNDala V.  rather, atri is principally an ancestor, perhaps a
fairly distant one, of a large family of poets.  atri appears as a figure
in hymns by Atreyas (2,7,15,73,74,78) and in one hymn of his own (40).
sometimes the narrative is associated with him, as in his rescue by the
ashvins (73.6, 78.4) or atri's restoration of the sun (40.6-8).  

also includes several other poets related to the atri family, including
A.ngirasa poets, to whom two hymns (15, 35) are attributed.  the A.ngirasa
poets are one of two dominant families in VIII, which also contains seven
hymns ascribed to Atreya poets (or in the case of VIII.91, a female
[AtreyI] poet).  

geographically, the atris ranged broadly from the rivers in the NW,
including the kabul (kubhA) and kurram (krumu) rivers, extending to the
yamunA in the east.  strikingly, it is the same poet, syAvAshva, who
mentions rivers in the northwest (53.9) and the yamunA (52.17).  

52-61 - the marut cycle attributed to SyAvAshva Atreya is the longest
sequence of hymns dedicated to the maruts, a remarkably exciting and
satisfying ahcievement. 

rg veda maNDala 5 Hymn 44 5.44

avatsAra kAshyapa
15 verses; jagatI except 14-15 triSTubh

 
A number of hymns feature riddles and verbal play, but none is as
challenging as 44, which Geldner called the most difficult hymn in the
RV. p.660 

Although, in our opinion there are numerous contenders for "hardest hymn"
in the RV - X.106 for example, some of which appears to be written in
unbreakable code - but this one certainly is near the top of any such
list. 

[the verse is mysterious, since the deities it is addressed to are never
mentioned until the end, when agni and soma are referred.

J&B interpret the hymn  on the hypothesis that 

a) the main hymn is the first 12 stanzas, and the final two lines are a
solution to the riddle, where the two gods are named. 

b) each verse, then, must ambiguously apply to both agni and soma. the
verbal contortions are the result of trying to produce a phraseology that
can be meaningful for either god.

c) line 6a - "just as he appears, so is he said (to be)" - is a "sly joke" -
see how transparent this riddle is -  when the audience is no doubt quite
frustrated ...

the final verses, 14-15, in a different meter, may be intended as an
implicit answer to the riddle. 

a number of other problem remain, such as the presence of a number of
plural females.  ]


here is a traditional interpretation, with some of J&B's new creative
analysis. 

from http://www.ancientvedas.com/chapter/5/book/44/

तम परत्नथा पूर्वथा विश्वथेमथा जयेष्ठतातिम बर्हिषदं सवर्विदम |
tam pratnathA pUrvathA vishvathemathA jyeShThatAtim barhiShadaM svarvidam |
	As in the first old times, as all were wont, as now, he draweth
	forth the power turned hitherward with song, 

परतीचीनं वर्जनं दोहसे गिराशुं जयन्तम अनु यासु वर्धसे || 1
pratIchInaM vR^ijanaM dohase girAshuM jayantam anu yAsu vardhase ||
	The Princedom throned on holy grass, who findeth light, swift,
	conquering in the plants wherein he waxeth strong. 

शरिये सुद्र्शीर उपरस्य याः सवर विरोचमानः ककुभाम अचोदते |
shriye sudR^ishIr uparasya yAH svar virochamAnaH kakubhAm achodate |
	Shining to him who leaves heaven's regions undisturbed, which to
	his sheen who is beneath show fair in light, 

सुगोपा असि न दभाय सुक्रतो परो मायाभिर रत आस नाम ते || 2
sugopA asi na dabhAya sukrato paro mAyAbhir R^ita Asa nAma te ||
	Good guardian art thou, not to be deceived, Most Wise! Far from
	deceits thy name dwelleth in holy Law. 

अत्यं हविः सचते सच च धातु चारिष्टगातुः स होता सहोभरिः |
atyaM haviH sachate sach cha dhAtu chAriShTagAtuH sa hotA sahobhariH |
	Truth waits upon oblation present and to come: naught checks him
	in his way, this victory-bringing Priest: 

परसर्स्राणो अनु बर्हिर वर्षा शिशुर मध्ये युवाजरो विस्रुहा हितः || 3
prasarsrANo anu barhir vR^iShA shishur madhye yuvAjaro visruhA hitaH ||
	The Mighty Child who glides along the sacred grass, the undecaying
	Youth set in the midst of plants. 

पर व एते सुयुजो यामन्न इष्टये नीचीर अमुष्मै यम्य रताव्र्धः |
pra va ete suyujo yAmann iShTaye nIchIr amuShmai yamya R^itAvR^idhaH |
	These come, well-yoked, to you for furtherance in the rite: down
	come the twin-born strengtheners of Law for him, 

सुयन्तुभिः सर्वशासैर अभीशुभिः करिविर नामानि परवणे मुषायति || 4
suyantubhiH sarvashAsair abhIshubhiH krivir nAmAni pravaNe muShAyati ||
	With reins easily guided and commanding all. In the deep fall the
	hide stealeth away their names. 

संजर्भुराणस तरुभिः सुतेग्र्भं वयाकिनं चित्तगर्भासु सुस्वरुः |
saMjarbhurANas tarubhiH sutegR^ibhaM vayAkinaM chittagarbhAsu susvaruH |
	Thou, moving beauteously in visibly pregnant ones, snatching with
	trees the branching plant that grasps the juice, 

धारवाकेष्व रजुगाथ शोभसे वर्धस्व पत्नीर अभि जीवो अध्वरे || 5
dhAravAkeShv R^ijugAtha shobhase vardhasva patnIr abhi jIvo adhvare ||
	Shinest, true Singer! mid the upholders of the voice. Increase thy
	Consorts thou, lively at sacrifice. 

याद्र्ग एव दद्र्शे ताद्र्ग उच्यते सं छायया दधिरे सिध्रयाप्स्व आ |
yAdR^ig eva dadR^ishe tAdR^ig uchyate saM ChAyayA dadhire sidhrayApsv A |
	Like as he is beheld such is he said to be. 

महीम अस्मभ्यम उरुषाम उरु जरयो बर्हत सुवीरम अनपच्युतं सहः || 6
mahIm asmabhyam uruShAm uru jrayo bR^ihat suvIram anapachyutaM sahaH ||
	They with effectual splendour in the floods have made 

वेत्य अग्रुर जनिवान वा अति सप्र्धः समर्यता मनसा सूर्यः कविः |
vety agrur janivAn vA ati spR^idhaH samaryatA manasA sUryaH kaviH |
	Earth yield us room enough and amply wide extent, great might
	invincible, with store of hero sons. 

घरंसं रक्षन्तम परि विश्वतो गयम अस्माकं शर्म वनवत सवावसुः || 7
ghraMsaM rakShantam pari vishvato gayam asmAkaM sharma vanavat svAvasuH ||
	Sūrya the Sage, as if unwedded, with a Spouse, in battle-loving
	spirit moveth o’er the foes. 

जयायांसम अस्य यतुनस्य केतुन रषिस्वरं चरति यासु नाम ते |
jyAyAMsam asya yatunasya ketuna R^iShisvaraM charati yAsu nAma te |
	May he, self-excellent, grant us a sheltering home, a house that
	wards the fierce heat off on every side. 

याद्र्श्मिन धायि तम अपस्यया विदद य उ सवयं वहते सो अरं करत || 8
yAdR^ishmin dhAyi tam apasyayA vidad ya u svayaM vahate so araM karat ||
	Thy name, sung forth by Ṛṣis in these hymns of ours, goes to the
	loftier One with this swift mover's light. 

समुद्रम आसाम अव तस्थे अग्रिमा न रिष्यति सवनं यस्मिन्न आयता |
samudram AsAm ava tasthe agrimA na riShyati savanaM yasminn AyatA |
	By skill he wins the boon whereon his heart is set: he who bestirs
	himself shall bring the thing to pass. 

अत्रा न हार्दि करवणस्य रेजते यत्रा मतिर विद्यते पूतबन्धनी || 9
atrA na hArdi kravaNasya rejate yatrA matir vidyate pUtabandhanI ||
	The chief and best of these abideth in the sea, nor doth libation
	fail wherein it is prolonged. 

स हि कषत्रस्य मनसस्य चित्तिभिर एवावदस्य यजतस्य सध्रेः |
sa hi kShatrasya manasasya chittibhir evAvadasya yajatasya sadhreH |
	The heart of him who praiseth trembleth not in fear there where the
	hymn is found connected with the pure. 

अवत्सारस्य सप्र्णवाम रण्वभिः शविष्ठं वाजं विदुषा चिद अर्ध्यम || 10
avatsArasya spR^iNavAma raNvabhiH shaviShThaM vAjaM viduShA chid ardhyam ||
	For it is he: with though to of Ksatra, Manasa, of Yajata, and
	Sadhri, and Evavada, 

शयेन आसाम अदितिः कक्ष्यो मदो विश्ववारस्य यजतस्य मायिनः |
shyena AsAm aditiH kakShyo mado vishvavArasya yajatasya mAyinaH |
	With Avatsara's sweet songs will we strive to win the mightiest
	strength which even he who knows should gain. 

सम अन्यम-अन्यम अर्थयन्त्य एतवे विदुर विषाणम परिपानम अन्ति ते || 11
sam anyam-anyam arthayanty etave vidur viShANam paripAnam anti te ||
	The Hawk is their full source, girth-stretching rapturous drink of
	Visvavara, of Mayin, and Yajata. 

सदाप्र्णो यजतो वि दविषो वधीद बाहुव्र्क्तः शरुतवित तर्यो वः सचा |
sadApR^iNo yajato vi dviSho vadhId bAhuvR^iktaH shrutavit taryo vaH sachA |
	They ever seek a fresh draught so that they may come, know when thy
	time to halt and drink thy fill is near. 

J&B 11b: 
	they [=priests] make (the females) set their goal to go to one
	after the other (of soma and agni) in turn.  they know (that)
	unharnessing and drinking in rounds (are) at hand. 

उभा स वरा परत्य एति भाति च यद ईं गणम भजते सुप्रयावभिः || 12
ubhA sa varA paratya eti bhAti cha yad IM gaNam bhajate suprayAvabhiH ||
	Sadaprna the holy, Tarya, Srutavit, and Bahuvrkta, joined with you,
	have slain the foes. 

सुतम्भरो यजमानस्य सत्पतिर विश्वासाम ऊधः स धियाम उदञ्चनः |
sutambharo yajamAnasya satpatir vishvAsAm UdhaH sa dhiyAm uda~nchanaH |
	He gains his wish in both the worlds and brightly shines-when he
	adores the host with well-advancing steeds. 

J&B 12b: 
	He [=indra] comes in reponse to both the choice ones [=agni and soma],
	and he is radiant when he has a share in the troop [=maruts]
	with their (chariots?) that drive forth easily. 

भरद धेनू रसवच छिश्रिये पयो ऽनुब्रुवाणो अध्य एति न सवपन || 13
bharad dhenU rasavach Chishriye payo .anubruvANo adhy eti na svapan ||
	The worshipper's defender is Sutambhara, producer and uplifter of
	all holy thoughts. 

यो जागार तम रचः कामयन्ते यो जागार तम उ सामानि यन्ति |
yo jAgAra tam R^ichaH kAmayante yo jAgAra tam u sAmAni yanti |
	The milch-cow brought, sweet-flavoured milk was dealt around. Who
	speaks the bidding text knows this, not he who sleeps.

J&B 14: 
	who stays awake, him the verses desire; who stays awake, to him go
		the melodies. 
	who stays awake, to him does this soma say: "I am home in
		fellowship with you. 

यो जागार तम अयं सोम आह तवाहम अस्मि सख्ये नयोकाः || 14
yo jāghāra tam ayaṃ soma āha tavāham asmi sakhye nyokāḥ ||
	The sacred hymns love him who wakes and watches: to him who watches
	come the Sāma verses. 

अग्निर जागार तम रचः कामयन्ते ऽगनिर जागार तम उ सामानि यन्ति |
aghnir jāghāra tam ṛcaḥ kāmayante 'ghnir jāghāra tam u sāmāni yanti |
	This Soma saith unto the man who watches, I rest and have my
	dwelling in thy friendship. 

J&B 15: 
	agni stays awake, him the verses desire.  agni stays awake. to him
		go the melodies.
	agni stays awake, to him does this soma  say: "i am home in
		fellowship with you. 
 
अग्निर जागार तम अयं सोम आह तवाहम अस्मि सख्ये नयोकाः || 15
aghnir jāghāra tam ayaṃ soma āha tavāham asmi sakhye nyokāḥ ||
	Agni is watchful, and the gcas love him; Agni is watchful, Sāma
	verses seek him. 

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