The Sanskrit Epics

by Delphi Classics

  The creative period of the Vedas at length came to an end. It was followed by an epoch in which there no longer seemed any need to offer up new prayers to the gods, but it appeared more meritorious to repeat those made by the holy seers of bygone generations, and handed down from father to son in various priestly families. The old hymns thus came to be successively gathered together in the Vedic collections already mentioned and in this form acquired an ever-increasing sanctity. Having ceased to produce poetry, the priesthood transferred their creative energies to the elaboration of the sacrificial ceremonial. The result was a ritual system far surpassing in complexity of detail anything the world has elsewhere known. The main importance of the old Vedic hymns and formulas now came to be their application to the innumerable details of the sacrifice. Around this combination of sacred verse and rite a new body of doctrine grew up in sacerdotal tradition, and finally assumed definite shape in the guise of distinct theological treatises entitled Brāhmaṇas, “books dealing with devotion or prayer” (brahman). They evidently did not come into being till a time when the hymns were already deemed ancient and sacred revelations, the priestly custodians of which no longer fully understood their meaning owing to the change undergone by the language. They are written in prose throughout, and are in some cases accented, like the Vedas themselves. They are thus notable as representing the oldest prose writing of the Indo-European family. Their style is, indeed, cumbrous, rambling, and disjointed, but distinct progress towards greater facility is observable within this literary period.

  The chief purpose of the Brāhmaṇas is to explain the mutual relation of the sacred text and the ceremonial, as well as their symbolical meaning with reference to each other. With the exception of the occasional legends and striking thoughts which occur in them, they cannot be said to be at all attractive as literary productions. To support their explanations of the ceremonial, they interweave exegetical, linguistic, and etymological observations, and introduce myths and philosophical speculations in confirmation of their cosmogonic and theosophic theories. They form an aggregate of shallow and pedantic discussions, full of sacerdotal conceits, and fanciful, or even absurd, identifications, such as is doubtless unparalleled anywhere else. Yet, as the oldest treatises on ritual practices extant in any literature, they are of great interest to the student of the history of religions in general, besides furnishing much important material to the student of Indian antiquity in particular.

  It results from what has been said that the contrasts between the two older phases of Vedic literature are strongly marked. The Vedas are poetical in matter and form; the Brāhmaṇas are prosaic and written in prose. The thought of the Vedas is on the whole natural and concrete; that of the Brāhmaṇas artificial and abstract. The chief significance of the Vedas lies in their mythology; that of the Brāhmaṇas in their ritual.

  The subject-matter of the Brāhmaṇas which are attached to the various Vedas, differs according to the divergent duties performed by the kind of priest connected with each Veda. The Brāhmaṇas of the Rigveda, in explaining the ritual, usually limit themselves to the duties of the priest called hotṛi or “reciter” on whom it was incumbent to form the canon (çastra) for each particular rite, by selecting from the hymns the verses applicable to it. The Brāhmaṇas of the Sāma-veda are concerned only with the duties of the udgātṛi or “chanter” of the Sāmans; the Brāhmaṇas of the Yajur-veda with those of the adhvaryu, or the priest who is the actual sacrificer. Again, the Brāhmaṇas of the Rigveda more or less follow the order of the ritual, quite irrespectively of the succession of the hymns in the Veda itself. The Brāhmaṇas of the Sāma- and the Yajur-veda, on the other hand, follow the order of their respective Vedas, which are already arranged in the ritual sequence. The Brāhmaṇa of the Sāma-veda, however, rarely explains individual verses, while that of the Yajur-veda practically forms a running commentary on all the verses of the text.

  The period of the Brāhmaṇas is a very important one in the history of Indian society. For in it the system of the four castes assumed definite shape, furnishing the frame within which the highly complex network of the castes of to-day has been developed. In that system the priesthood, who even in the first Vedic period had occupied an influential position, secured for themselves the dominant power which they have maintained ever since. The life of no other people has been so saturated with sacerdotal influence as that of the Hindus, among whom sacred learning is still the monopoly of the hereditary priestly caste. While in other early societies the chief power remained in the hands of princes and warrior nobles, the domination of the priesthood became possible in India as soon as the energetic life of conquest during the early Vedic times in the north-west was followed by a period of physical inactivity or indolence in the plains. Such altered conditions enabled the cultured class, who alone held the secret of the all-powerful sacrifice, to gain the supremacy of intellect over physical force.

  The Brāhmaṇas in course of time themselves acquired a sacred character, and came in the following period to be classed along with the hymns as çruti or “hearing,” that which was directly heard by or, as we should say, revealed to, the holy sages of old. In the sphere of revelation are included the later portions of the Brāhmaṇas, which form treatises of a specially theosophic character, and being meant to be imparted or studied in the solitude of the forest, are called Āraṇyakas or “Forest-books.” The final part of these, again, are philosophical books named Upanishads, which belong to the latest stage of Brāhmaṇa literature. The pantheistic groundwork of their doctrine was later developed into the Vedānta system, which is still the favourite philosophy of the modern Hindus.

  Works of Vedic “revelation” were deemed of higher authority in cases of doubt than the later works on religious and civil usage, called smṛiti or “memory,” as embodying only the tradition derived from ancient sages.

  We have now arrived at the third and last stage of Vedic literature, that of the Sūtras. These are compendious treatises dealing with Vedic ritual on the one hand, and with customary law on the other. The rise of this class of writings was due to the need of reducing the vast and growing mass of details in ritual and custom, preserved in the Brāhmaṇas and in floating tradition, to a systematic shape, and of compressing them within a compass which did not impose too great a burden on the memory, the vehicle of all teaching and learning. The main object of the Sūtras is, therefore, to supply a short survey of the sum of these scattered details. They are not concerned with the interpretation of ceremonial or custom, but aim at giving a plain and methodical account of the whole course of the rites or practices with which they deal. For this purpose the utmost brevity was needed, a requirement which was certainly met in a manner unparalleled elsewhere. The very name of this class of literature, sūtra, “thread” or “clue” (from siv, “to sew”), points to its main characteristic and chief object — extreme conciseness. The prose in which these works are composed is so compressed that the wording of the most laconic telegram would often appear diffuse compared with it. Some of the Sūtras attain to an almost algebraic mode of expression, the formulas of which cannot be understood without the help of detailed commentaries. A characteristic aphorism has been preserved, which illustrates this straining after brevity. According to it, the composers of grammatical Sūtras delight as much in the saving of a short vowel as in the birth of a son. The full force of this remark can only be understood when it is remembered that a Brahman is deemed incapable of gaining heaven without a son to perform his funeral rites.

  Though the works comprised in each class of Sūtras are essentially the same in character, it is natural to suppose that their composition extended over some length of time, and that those which are more concise and precise in their wording are the more recent; for the evolution of their style is obviously in the direction of increased succinctness. Research, it is true, has hitherto failed to arrive at any definite result as to the date of their composition. Linguistic investigations, however, tend t
o show that the Sūtras are closely connected in time with the grammarian Pāṇini, some of them appearing to be considerably anterior to him. We shall, therefore, probably not go very far wrong in assigning 500 and 200 B.C. as the chronological limits within which the Sūtra literature was developed.

  The tradition of the Vedic ritual was handed down in two forms. The one class, called Çrauta Sūtras, because based on çruti or revelation (by which in this case the Brāhmaṇas are chiefly meant), deal with the ritual of the greater sacrifices, for the performance of which three or more sacred fires, as well as the ministrations of priests, are necessary. Not one of them presents a complete picture of the sacrifice, because each of them, like the Brāhmaṇas, describes only the duties of one or other of the three kinds of priests attached to the respective Vedas. In order to obtain a full description of each ritual ceremony, it is therefore needful to supplement the account given by one Çrauta Sūtra from that furnished by the rest.

  The other division of the ritual Sūtras is based on smṛiti or tradition. These are the Gṛihya Sūtras, or “House Aphorisms,” which deal with the household ceremonies, or the rites to be performed with the domestic fire in daily life. As a rule, these rites are not performed by a priest, but by the householder himself in company with his wife. For this reason there is, apart from deviations in arrangement and expression, omission or addition, no essential difference between the various Gṛihya Sūtras, except that the verses to be repeated which they contain are taken from the Veda to which they belong. Each Gṛihya Sūtra, besides being attached to and referring to the Çrauta Sūtra of the same school, presupposes a knowledge of it. But though thus connected, the two do not form a unity.

  The second class of Sūtras, which deal with social and legal usage, is, like the Gṛihya Sūtras, also based on smṛiti or tradition. These are the Dharma Sūtras, which are in general the oldest sources of Indian law. As is implied by the term dharma, “religion and morality,” their point of view is chiefly a religious one. They are closely connected with the Veda, which they quote, and which the later law-books regard as the first and highest source of dharma.

  From the intensely crabbed and unintelligible nature of their style, and the studied baldness with which they present their subjects, it is evident that the Sūtras are inferior even to the Brāhmaṇas as literary productions. Judged, however, with regard to its matter, this strange phase of literature has considerable value. In all other ancient literatures knowledge of sacrificial rites can only be gained by collecting stray references. But in the ritual Sūtras we possess the ancient manuals which the priests used as the foundation of their sacrificial lore. Their statements are so systematic and detailed that it is possible to reconstruct from them various sacrifices without having seen them performed. They are thus of great importance for the history of religious institutions. But the Sūtras have a further value. For, as the life of the Hindu, more than that of any other nation, was, even in the Vedic age, surrounded with a network of religious forms, both in its daily course and in its more important divisions, the domestic ritual as well as the legal Sūtras are our most important sources for the study of the social conditions of ancient India. They are the oldest Indian records of all that is included under custom.

  Besides these ritual and legal compendia, the Sūtra period produced several classes of works composed in this style, which, though not religious in character, had a religious origin. They arose from the study of the Vedas, which was prompted by the increasing difficulty of understanding the hymns, and of reciting them correctly, in consequence of the changes undergone by the language. Their chief object was to ensure the right recitation and interpretation of the sacred text. One of the most important classes of this ancillary literature comprises the Prātiçākhya Sūtras, which, dealing with accentuation, pronunciation, metre, and other matters, are chiefly concerned with the phonetic changes undergone by Vedic words when combined in a sentence. They contain a number of minute observations, such as have only been made over again by the phoneticians of the present day in Europe. A still more important branch of this subsidiary literature is grammar, in which the results attained by the Indians in the systematic analysis of language surpass those arrived at by any other nation. Little has been preserved of the earliest attempts in this direction, for all that had been previously done was superseded by the great Sūtra work of Pāṇini. Though belonging probably to the middle of the Sūtra period, Pāṇini must be regarded as the starting-point of the Sanskrit age, the literature of which is almost entirely dominated by the linguistic standard stereotyped by him.

  In the Sūtra period also arose a class of works specially designed for preserving the text of the Vedas from loss or change. These are the Anukramaṇīs or “Indices,” which quote the first words of each hymn, its author, the deity celebrated in it, the number of verses it contains, and the metre in which it is composed. One of them states the total number of hymns, verses, words, and even syllables, contained in the Rigveda, besides supplying other details.

  From this general survey of the Vedic period we now turn to a more detailed consideration of the different phases of the literature it produced.

  Chapter III

  The Rigveda

  IN THE DIM twilight preceding the dawn of Indian literature the historical imagination can perceive the forms of Aryan warriors, the first Western conquerors of Hindustan, issuing from those passes in the north-west through which the tide of invasion has in successive ages rolled to sweep over the plains of India. The earliest poetry of this invading race, whose language and culture ultimately overspread the whole continent, was composed while its tribes still occupied the territories on both sides of the Indus now known as Eastern Kabulistan and the Panjāb. That ancient poetry has come down to us in the form of a collection of hymns called the Rigveda. The cause which gathered the poems it contains into a single book was not practical, as in the case of the Sāma- and Yajur-veda, but scientific and historical. For its ancient editors were undoubtedly impelled by the motive of guarding this heritage of olden time from change and destruction. The number of hymns comprised in the Rigveda, in the only recension which has been preserved, that of the Çākala school, is 1017, or, if the eleven supplementary hymns (called Vālakhilya) which are inserted in the middle of the eighth book are added, 1028. These hymns are grouped in ten books, called maṇḍalas, or “cycles,” which vary in length, except that the tenth contains the same number of hymns as the first. In bulk the hymns of the Rigveda equal, it has been calculated, the surviving poems of Homer.

  The general character of the ten books is not identical in all cases. Six of them (ii.–vii.) are homogeneous. Each of these, in the first place, is the work of a different seer or his descendants according to the ancient tradition, which is borne out by internal evidence. They were doubtless long handed down separately in the families to which they owed their being. Moreover, the hymns contained in these “family books,” as they are usually called, are arranged on a uniform plan differing from that of the rest. The first, eighth, and tenth books are not the productions of a single family of seers respectively, but consist of a number of groups based on identity of authorship. The arrangement of the ninth book is in no way connected with its composers; its unity is due to all its hymns being addressed to the single deity Soma, while its groups depend on identity of metre. The family books also contain groups; but each of these is formed of hymns addressed to one and the same deity.

  Turning to the principle on which the entire books of the Rigveda are arranged in relation to one another, we find that Books II.–VII., if allowance is made for later additions, form a series of collections which contain a successively increasing number of hymns. This fact, combined with the uniformity of these books in general character and internal arrangement, renders it probable that they formed the nucleus of the Rigveda, to which the remaining books were successively added. It further seems likely that the nine shorter collections, which form the second part of Book I
., as being similarly based on identity of authorship, were subsequently combined and prefixed to the family books, which served as the model for their internal arrangement.

  The hymns of the eighth book in general show a mutual affinity hardly less pronounced than that to be found in the family books. For they are connected by numerous repetitions of similar phrases and lines running through the whole book. The latter, however, does not form a parallel to the family books. For though a single family, that of the Kaṇvas, at least predominates among its authors, the prevalence in it of the strophic form of composition impresses upon it a character of its own. Moreover, the fact that the eighth book contains fewer hymns than the seventh, in itself shows that the former did not constitute one of the family series.

  The first part (1–50) of Book I. has considerable affinities with the eighth, more than half its hymns being attributed to members of the Kaṇva family, while in the hymns composed by some of these Kaṇvas the favourite strophic metre of the eighth book reappears. There are, moreover, numerous parallel and directly identical passages in the two collections. It is, however, at present impossible to decide which of the two is the earlier, or why it is that, though so nearly related, they should have been separated. Certain it is that they were respectively added at the beginning and the end of a previously existing collection, whether they were divided for chronological reasons or because composed by different branches of the Kaṇva family.

  As to the ninth book, it cannot be doubted that it came into being as a collection after the first eight books had been combined into a whole. Its formation was in fact the direct result of that combination. The hymns to Soma Pavamāna (“the clearly flowing”) are composed by authors of the same families as produced Books II.–VII., a fact, apart from other evidence, sufficiently indicated by their having the characteristic refrains of those families. The Pavamāna hymns have affinities to the first and eighth books also. When the hymns of the different families were combined into books, and clearly not till then, all their Pavamāna hymns were taken out and gathered into a single collection. This of course does not imply that the Pavamāna hymns themselves were of recent origin. On the contrary, though some of them may date from the time when the tenth book came into existence, there is good reason to suppose that the poetry of the Soma hymns, which has many points in common with the Avesta, and deals with a ritual going back to the Indo-Iranian period, reached its conclusion as a whole in early times among the Vedic singers. Differences of age in the hymns of the ninth book have been almost entirely effaced; at any rate, research has as yet hardly succeeded in distinguishing chronological stages in this collection.