In language the Brāhmaṇas are considerably more limited in the use of forms than the Rigveda. The subjunctive is, however, still employed, as well as a good many of the old infinitives. Their syntax, indeed, represents the oldest Indian stage even better than the Rigveda, chiefly of course owing to the restrictions imposed by metre on the style of the latter. The Brāhmaṇas contain some metrical pieces (gāthās), which differ from the prose in which they are imbedded by certain peculiarities of their own and by a more archaic character. Allied to these is a remarkable poem of this period, the Suparṇādhyāya, an attempt, after the age of living Vedic poetry had come to an end, to compose in the style of the Vedic hymns. It contains many Vedic forms, and is accented, but it betrays its true character not only by its many modern forms, but by numerous monstrosities due to unsuccessful imitation of the Vedic language.
A further development are the Āraṇyakas or “Forest Treatises,” the later age of which is indicated both by the position they occupy at the end of the Brāhmaṇas and by their theosophical character. These works are generally represented as meant for the use of pious men who have retired to the forest and no longer perform sacrifices. According to the view of Professor Oldenberg, they are, however, rather treatises which, owing to the superior mystic sanctity of their contents, were intended to be communicated to the pupil by his teacher in the solitude of the forest instead of in the village.
In tone and content the Āraṇyakas form a transition to the Upanishads, which are either imbedded in them, or more usually form their concluding portion. The word upa-ni-shad (literally “sitting down beside”) having first doubtless meant “confidential session,” came to signify “secret or esoteric doctrine,” because these works were taught to select pupils (probably towards the end of their apprenticeship) in lectures from which the wider circle was excluded. Being entirely devoted to theological and philosophical speculations on the nature of things, the Upanishads mark the last stage of development in the Brāhmaṇa literature. As they generally come at the end of the Brāhmaṇas, they are also called Vedānta (“end of the Veda”), a term later interpreted to mean “final goal of the Veda.” “Revelation” (çruti) was regarded as including them, while the Sūtras belonged to the sphere of tradition (smṛiti). The subject-matter of all the old Upanishads is essentially the same — the doctrine of the nature of the Ātman or Brahma (the supreme soul). This fundamental theme was expounded in various ways by the different Vedic schools, of which the Upanishads were originally the dogmatic text-books, just as the Brāhmaṇas were their ritual text-books.
The Āraṇyakas and Upanishads represent a phase of language which on the whole closely approaches to classical Sanskrit, the oldest Upanishads occupying a position linguistically midway between the Brāhmaṇas and the Sūtras.
Of the two Brāhmaṇas attached to the Rigveda, the more important is the Aitareya. The extant text consists of forty chapters (adhyāya) divided into eight books called panchikās or “pentads,” because containing five chapters each. That its last ten chapters were a later addition appears likely both from internal evidence and from the fact that the closely related Çānkhāyana Brāhmaṇa contains nothing corresponding to their subject-matter, which is dealt with in the Çānkhāyana Sūtra. The last three books would further appear to have been composed at a later date than the first five, since the perfect in the former is used as a narrative tense, while in the latter it still has its original present force, as in the oldest Brāhmaṇas. The essential part of this Brāhmaṇa deals with the soma sacrifice. It treats first (1–16) of the soma rite called Agnishṭoma, which lasts one day, then (17–18) of that called Gavāmayana, which lasts 360 days, and thirdly (19–24) of the Dvādaçāha or “twelve days’ rite.” The next part (25–32), which is concerned with the Agnihotra or “fire sacrifice” and other matters, has the character of a supplement. The last portion (33–40), dealing with the ceremonies of the inauguration of the king and with the position of his domestic priest, bears similar signs of lateness.
The other Brāhmaṇa of the Rigveda, which goes by the name of Kaushītaki as well as Çānkhāyana, consists of thirty chapters. Its subject-matter is, on the whole, the same as that of the original part of the Aitareya (i.–v.), but is wider. For in its opening chapters it goes through the setting up of the sacred fire (agni-ādhāna), the daily morning and evening sacrifice (agnihotra), the new and full moon ritual, and the four-monthly sacrifices. The Soma sacrifice, however, occupies the chief position even here. The more definite and methodical treatment of the ritual in the Kaushītaki would seem to indicate that this Brāhmaṇa was composed at a later date than the first five books of the Aitareya. Such a conclusion is, however, not altogether borne out by a comparison of the linguistic data of these two works. Professor Weber argues from the occurrence in one passage of Īçāna and Mahādeva as designations of the god who was later exclusively called Çiva, that the Kaushītaki Brāhmaṇa was composed at about the same time as the latest books of the White Yajurveda and those parts of the Atharva-veda and of the Çatapatha Brāhmaṇa in which these appellations of the same god are found.
These Brāhmaṇas contain very few geographical data. From the way, however, in which the Aitareya mentions the Indian tribes, it may be safely inferred that this work had its origin in the country of the Kuru-Panchālas, in which, as we have seen, the Vedic ritual must have been developed, and the hymns of the Rigveda were probably collected in the existing Saṃhitā. From the Kaushītaki we learn that the study of language was specially cultivated in the north of India, and that students who returned from there were regarded as authorities on linguistic questions.
The chief human interest of these Brāhmaṇas lies in the numerous myths and legends which they contain. The longest and most remarkable of those found in the Aitareya is the story of Çunaḥçepa (Dog’s-Tail), which forms the third chapter of Book VII. The childless King Hariçchandra vowed, if he should have a son, to sacrifice him to Varuṇa. But when his son Rohita was born, he kept putting off the fulfilment of his promise. At length, when the boy was grown up, his father, pressed by Varuṇa, prepared to perform the sacrifice. Rohita, however, escaped to the forest, where he wandered for six years, while his father was afflicted with dropsy by Varuṇa. At last he fell in with a starving Brahman, who consented to sell to him for a hundred cows his son Çunaḥçepa as a substitute. Varuṇa agreed, saying, “A Brahman is worth more than a Kshatriya.” Çunaḥçepa was accordingly bound to the stake, and the sacrifice was about to proceed, when the victim prayed to various gods in succession. As he repeated one verse after the other, the fetters of Varuṇa began to fall off and the dropsical swelling of the king to diminish, till finally Çunaḥçepa was released and Hariçchandra was restored to health again.
The style of the prose in which the Aitareya is composed is crude, clumsy, abrupt, and elliptical. The following quotation from the stanzas interspersed in the story of Çunaḥçepa may serve as a specimen of the gāthās found in the Brāhmaṇas. These verses are addressed by a sage named Nārada to King Hariçchandra on the importance of having a son: —
In him a father pays a debt
And reaches immortality,
When he beholds the countenance
Of a son born to him alive.
Than all the joy which living things
In waters feel, in earth and fire,
The happiness that in his son
A father feels is greater far.
At all times fathers by a son
Much darkness, too, have passed beyond:
In him the father’s self is born,
He wafts him to the other shore.
Food is man’s life and clothes afford protection,
Gold gives him beauty, marriages bring cattle;
His wife’s a friend, his daughter causes pity:
A son is like a light in highest heaven.
To the Aitareya Brāhmaṇa belongs the Aitareya Āraṇyaka. It consists of eighteen chapters,
distributed unequally among five books. The last two books are composed in the Sūtra style, and are really to be regarded as belonging to the Sūtra literature. Four parts can be clearly distinguished in the first three books. Book I. deals with various liturgies of the Soma sacrifice from a purely ritual point of view. The first three chapters of Book II., on the other hand, are theosophical in character, containing speculations about the world-soul under the names of Prāṇa and Purusha. It is allied in matter to the Upanishads, some of its more valuable thoughts recurring, occasionally even word for word, in the Kaushītaki Upanishad. The third part consists of the remaining four sections of Book II., which form the regular Aitareya Upanishad. Finally, Book III. deals with the mystic and allegorical meaning of the three principal modes in which the Veda is recited in the Saṃhitā, Pada and Krama Pāṭhas, and of the various letters of the alphabet.
To the Kaushītaki Brāhmaṇa is attached the Kaushītaki Āraṇyaka. It consists of fifteen chapters. The first two of these correspond to Books I. and V. of the Aitareya Āraṇyaka, the seventh and eighth to Book III., while the intervening four chapters (3–6) form the Kaushītaki Upanishad. The latter is a long and very interesting Upanishad. It seems not improbably to have been added as an independent treatise to the completed Āraṇyaka, as it is not always found in the same part of the latter work in the manuscripts.
Brāhmaṇas belonging to two independent schools of the Sāmaveda have been preserved, those of the Tāṇḍins and of the Talavakāras or Jaiminīyas. Though several other works here claim the title of ritual text-books, only three are in reality Brāhmaṇas. The Brāhmaṇa of the Talavakāras, which for the most part is still unpublished, seems to consist of five books. The first three (unpublished) are mainly concerned with various parts of the sacrificial ceremonial. The fourth book, called the Upanishad Brāhmaṇa (probably “the Brāhmaṇa of mystic meanings”), besides all kinds of allegories of the Āraṇyaka order, two lists of teachers, a section about the origin of the vital airs (prāṇa) and about the sāvitrī stanza, contains the brief but important Kena Upanishad. Book V., entitled Ārsheya-Brāhmaṇa, is a short enumeration of the composers of the Sāmaveda.
To the school of the Tāṇḍins belongs the Panchaviṃça (“twenty-five fold”), also called Tāṇḍya or Prauḍha, Brāhmaṇa, which, as the first name implies, consists of twenty-five books. It is concerned with the Soma sacrifices in general, ranging from the minor offerings to those which lasted a hundred days, or even several years. Besides many legends, it contains a minute description of sacrifices performed on the Sarasvatī and Dṛishadvatī. Though Kurukshetra is known to it, other geographical data which it contains point to the home of this Brāhmaṇa having lain farther east. Noteworthy among its contents are the so-called Vrātya-Stomas, which are sacrifices meant to enable Aryan but non-Brahmanical Indians to enter the Brahmanical order. A point of interest in this Brāhmaṇa is the bitter hostility which it displays towards the school of the Kaushītakins. The Shaḍviṃça Brāhmaṇa, though nominally an independent work, is in reality a supplement to the Panchaviṃça, of which, as its name implies, it forms the twenty-sixth book. The last of its six chapters is called the Adbhuta Brāhmaṇa, which is intended to obviate the evil effects of various extraordinary events or portents. Among such phenomena are mentioned images of the gods when they laugh, cry, sing, dance, perspire, crack, and so forth.
The other Brāhmaṇa of this school, the Chhāndogya Brāhmaṇa, is only to a slight extent a ritual text-book. It does not deal with the Soma sacrifice at all, but only with ceremonies relating to birth and marriage or prayers addressed to divine beings. These are the contents of only the first two “lessons” of this Brāhmaṇa of the Sāma theologians. The remaining eight lessons constitute the Chhāndogya Upanishad.
There are four other short works which, though bearing the name, are not really Brāhmaṇas. These are the Sāmavidhāna Brāhmaṇa, a treatise on the employment of chants for all kinds of superstitious purposes; the Devatādhyāya Brāhmaṇa, containing some statements about the deities of the various chants of the Sāmaveda; the Vaṃça Brāhmaṇa, which furnishes a genealogy of the teachers of the Sāmaveda; and, finally, the Saṃhitopanishad, which, like the third book of the Aitareya Āraṇyaka, treats of the way in which the Veda should be recited.
The Brāhmaṇas of the Sāmaveda are distinguished by the exaggerated and fantastic character of their mystical speculations. A prominent feature in them is the constant identification of various kinds of Sāmans or chants with all kinds of terrestrial and celestial objects. At the same time they contain much matter that is interesting from a historical point of view.
In the Black Yajurveda the prose portions of the various Saṃhitās form the only Brāhmaṇas in the Kaṭha and the Maitrāyaṇīya schools. In the Taittirīya school they form the oldest and most important Brāhmaṇa. Here we have also the Taittirīya Brāhmaṇa as an independent work in three books. This, however, hardly differs in character from the Taittirīya Saṃhitā, being rather a continuation. It forms a supplement concerned with a few sacrifices omitted in the Saṃhitā, or handles, with greater fulness of detail, matters already dealt with. There is also a Taittirīya Āraṇyaka, which in its turn forms a supplement to the Brāhmaṇa. The last four of its ten sections constitute the two Upanishads of this school, vii.–ix. forming the Taittirīya Upanishad, and x. the Mahā-Nārāyaṇa Upanishad, also called the Yājnikī Upanishad. Excepting these four sections, the title of Brāhmaṇa or Āraṇyaka does not indicate a difference of content as compared with the Saṃhitā, but is due to late and artificial imitation of the other Vedas.
The last three sections of Book III. of the Brāhmaṇa, as well as the first two books of the Āraṇyaka, originally belonged to the school of the Kaṭhas, though they have not been preserved as part of the tradition of that school. The different origin of these parts is indicated by the absence of the change of y and v to iy and uv respectively, which otherwise prevails in the Taittirīya Brāhmaṇa and Āraṇyaka. In one of these Kāṭhaka sections (Taitt. Br. iii. 11), by way of illustrating the significance of the particular fire called nāchiketa, the story is told of a boy, Nachiketas, who, on visiting the House of Death, was granted the fulfilment of three wishes by the god of the dead. On this story is based the Kāṭhaka Upanishad.
Though the Maitrāyaṇī Saṃhitā has no independent Brāhmaṇa, its fourth book, as consisting of explanations and supplements to the first three, is a kind of special Brāhmaṇa. Connected with this Saṃhitā, and in the manuscripts sometimes forming its second or its fifth book, is the Maitrāyaṇa (also called Maitrāyaṇīya and Maitri) Upanishad.
The ritual explanation of the White Yajurveda is to be found in extraordinary fulness in the Çatapatha Brāhmaṇa., the “Brāhmaṇa of the Hundred Paths,” so called because it consists of one hundred lectures (adhyāya). This work is, next to the Rigveda, the most important production in the whole range of Vedic literature. Its text has come down in two recensions, those of the Mādhyaṃdina school, edited by Professor Weber, and of the Kāṇva school, which is in process of being edited by Professor Eggeling. The Mādhyaṃdina recension consists of fourteen books, while the Kāṇva has seventeen. The first nine of the former, corresponding to the original eighteen books of the Vājasaneyi Saṃhitā, doubtless form the oldest part. The fact that Book XII. is called madhyama, or “middle one,” shows that the last five books (or possibly only X.–XIII.) were at one time regarded as a separate part of the Brāhmaṇa. Book X. treats of the mystery of the fire-altar (agnirahasya), XI. is a sort of recapitulation of the preceding ritual, while XII. and XIII. deal with various supplementary matters. The last book forms the Āraṇyaka, the six concluding chapters of which are the Bṛihadāraṇyaka Upanishad.
Books VI.–X. of the Çatapatha Brāhmaṇa occupy a peculiar position. Treating of the construction of the fire-altar, they recognise the teaching of Çāṇḍilya as their highest authority, Yājnavalkya not even bei
ng mentioned; while the peoples who are named, the Gāndhāras, Salvas, Kekayas, belong to the north-west. In the other books Yājnavalkya is the highest authority, while hardly any but Eastern peoples, or those of the middle of Hindustan, the Kuru-Panchālas, Kosalas, Videhas, Sṛinjayas, are named. That the original authorship of the five Çāṇḍilya books was different from that of the others is indicated by a number of linguistic differences, which the hand of a later editor failed to remove. Thus the use of the perfect as a narrative tense is unknown to the Çāṇḍilya books (as well as to XIII.).
The geographical data of the Çatapatha Brāhmaṇa point to the land of the Kuru-Panchālas being still the centre of Brahmanical culture. Janamejaya is here celebrated as a king of the Kurus, and the most renowned Brahmanical teacher of the age, Āruṇi, is expressly stated to have been a Panchāla. Nevertheless, it is clear that the Brahmanical system had by this time spread to the countries to the east of Madhyadeça, to Kosala, with its capital, Ayodhyā (Oudh), and Videha (Tirhut or Northern Behar), with its capital, Mithilā. The court of King Janaka of Videha was thronged with Brahmans from the Kuru-Panchāla country. The tournaments of argument which were here held form a prominent feature in the later books of the Çatapatha Brāhmaṇa. The hero of these is Yājnavalkya, who, himself a pupil of Āruṇi, is regarded as the chief spiritual authority in the Brāhmaṇa (excepting Books VI.–X.). Certain passages of the Brāhmaṇa render it highly probable that Yājnavalkya was a native of Videha. The fact that its leading authority, who thus appears to have belonged to this Eastern country, is represented as vanquishing the most distinguished teachers of the West in argument, points to the redaction of the White Yajurveda having taken place in this eastern region.
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