In this chapter the historical and social analysis of Vi¿v¡mitra
legends in the Samhitas, Br¡hma¸as, Ëra¸yakas, UpaniÀads, S£tras and
Vedic ancillaries are included. In the S£ktas the character of Vi¿v¡mitra
is found variant in each others, i.e. RV, Br¡hma¸as, Ëra¸yakas,
UpaniÀads, S£tras and Vedic ancillaries, Pur¡¸as etc. In the AV he is
seen as the founder of mantras on medicine, agriculture etc. He
sometimes appears as a physician or as a farmer.
Dialogue Hymns - Vi¿v¡mitra and the Rivers
The thirty third hymn of the third Ma¸·ala of RV is a dialogue
hymn. The dialogue takes place between Vi¿v¡mitra on one side and the
rivers Vip¡t and áutudri on the other. This dialogue scene is the
confrontation of the seer Vi¿v¡mitra with the two rivers. Before
beginning his commentary on this hymn, S¡ya¸a describes the context.
Vi¿v¡mitra, the family priest of Sud¡sa, the son of Paijavana, having
gained much wealth in his service, was returning with it home, when his
road brought him to the confluence of the Vip¡t and áutudri in order to
make them fordable, he addressed them the first stanzas of this hymn, to
which they replied, and allowed him and his followers to cross.1 But
these details of the incident are not given by this dialogue hymns. Ninth
1
Îgveda Samhita with S¡ya¸a Bh¡Àya, (Ed) Arya Ravi Prakash & Joshi K L, Parimal
Publications, Delhi, 1997, P.177.
82
of the fifty third S£kta in the third Ma¸·ala, that Mantra gives that he
had arrested the watery stream when he had done sacrifice for Sud¡sa.
This dialogue hymn contains 13 Mantras. The seer describes the
rivers as rushing from the flanks of the mountains, eager to reach the
sea. They are like two mares with loosened reins contending with each
other in speed and like two fair mother cows very speedily going licking
of their calves. The rivers Vip¡¿a and áutudri flow rapidly with waters.2
Impelled by Indra, soliciting to his commands, the river goes to the
ocean like charioteers goes to their goal, flowing together, and swelling
with their waves, bright rivers one of you proceeds to the other.3 And
Vi¿v¡mitra tells the rivers in this Mantra:
+SUôÉ ÊºÉxvÉÖÆ ¨ÉÉiÉÞiɨÉɨɪÉɺÉÆ Ê´É{ÉɶɨÉÖ´ÉÕ ºÉÖ¦ÉMÉɨÉMÉx¨É *
´ÉiºÉÊ¨É´É ¨ÉÉiÉ®úÉ ºÉÆÊ®ú½þÉhÉä ºÉ¨ÉÉxÉÆ ªÉÉäÊxɨÉxÉÖ ºÉ\SÉ®úxiÉÒ **4
I attained to the most maternal rivers, I went to the wide
auspicious Vip¡¿a, flowing together to a common receptacle, like parent
cows hastening to caress the calf.
Then the rivers reply to Vi¿v¡mitra. Fertilizing the land with this
our current, we are flowing to the receptacle which has been appointed
2
H. H Wilson’s Tr., III. 33.1.
Ibid., III.33.2.
4
RV, III.33.3.
3
83
by the deity Indra: the course appointed for our going permits not of
delay.5
In the fifth, Vi¿v¡mitra requests them to stop for a moment.
Again, in the sixth verse, the rivers speak that they are running on the
way dug out by Indra and at the command of lovely - handed (Sup¡¸i)
Savit¤. In the eighth, Vi¿v¡mitra lauds Indra. Then again he requests the
rivers to give him way in the ninth verse. He addresses them as sisters.
In the tenth stanza, rivers agree to bend like nursing mother and to yield
as a maiden to her lover, then the rivers replay to Vi¿v¡mitra; ‘we hear
your words that you have come from afar with a wagon and chariot: we
bow down before you: like a woman nursing her child, like a maiden
bending to embrace a man, so will we do for you.’6 In the next stanza
Vi¿v¡mitra tells them that after the Bharatas crossed them, they can let
their streams flow on in rapid motion. Then the Bharatas seeking cattle
passed over: the sage enjoyed the favour of the rivers: streams
dispensing food productive of wealth, spread abundance, fill (your
beds), flow swiftly.7 The last Mantra is, ‘let your waves (rivers) so flow
that the pin of the yoke may be above (their) waters: leave the traces
5
H.H Wilson’s Tr., 33. 4.
Ibid., 33.10.
7
Ibid., 33.12.
6
84
full, and may (the two streams) exempt from misfortune or defect, and
uncensored, exhibit no (present) increase.’8
Nirukta explains verses 5, 6 & 10 of that hymn from the
Aitih¡sika point of view and states that Vi¿v¡mitra was the son of king
Ku¿ika and does not mention the Nairukta interpretation of these
verses.9 In Nirukta, Y¡ska relates a short story of Vi¿v¡mitra and the
rivers. ‘The seer Vi¿v¡mitra was the domestic priest of Sud¡s, the son
of Pijavana. Vi¿v¡mitra is friend of all. All are moving together. Sud¡sa
was a bountiful giver. Paijavana was son of Pijavana. Pijavana, means
one whose speed is enviable or whose gait is inimitable. Having
gathered his wealth, the priest came to the confluence of the Sutlej and
the Beas. Others followed him. Vi¿v¡mitra, implored the rivers to
become fordable.’10
Y¡ska says that the statement is based on the RV.III.53.9. But the
fact is that Vi¿v¡mitra took his wealth to the confluence of the rivers
which is not clearly borne out by other texts.11
8
Ibid., 33.13.
Nirukta, II. 25-27.
10
The Nigha¸¶u and Nirukta, (Ed) Lakshman Sarup, Motilal Banarsidass Publishers,
Delhi,II.24.
11
The Vi¿v¡mitras and VasiÀ¶has, P.66.
9
85
In the BD the details of Vi¿v¡mitra’s conversation with the rivers
and he successfully crossing the confluence of these rivers, Vip¡¿a and
áutudri in the company of Sud¡sa are found:12
{ÉÖ®úÉäʽþiÉ& ºÉÊzÉVªÉÉlÉÈ ºÉÖnùɺÉÉ ºÉ½þ ªÉzÉÞʹÉ& *
Ê´É{ÉÉ]ÂõUÖôtpù¬Éä& ºÉƦÉänÆù ¶ÉʨÉiªÉäiÉä =´ÉÉSÉ ½þ **13
The seer going with Sud¡sa being his domestic priest for the sake
of sacrifice- to the confluence of the Vip¡¿a and áutudri addressed these
two (rivers) with (the words) ‘be propitious’ (¿am).
These dialogues are of interest for their historical allusion. Keith
asserts the account of Vi¿v¡mitra’s dialogue and interprets that the
Bharatas successfully crossed the rivers in search of booty, having won
a passage by the intercession of their priest.14 This dialogue hymn is a
combination of witty questions and answers. It is one of the nicest
poetical specimens and supposed to be an archetype of the dramas in the
later classical literature by various scholars. This is a ballad of the rivers
according to Geldner,15 who ascribes the first two verses to the poet 3,
5, 7, 9, 11 and 12 to Vi¿v¡mitra, and 4, 6, 8 and 10 to the rivers. The
last stanza is a late addition while Von Schroeder sees a cult drama
12
BD, 105 – 109.
Ibid., IV. 106.
14
The Sanskrit Drama - In its Origin, Development Theory and Practice, A.B Keith, Motilal
Banarsidas Publishers, Delhi, 1992, P.15.
15
Translation and Commentary of Îgveda, H. Haessel, Vertag Leipzig, Vol. 1,1908.
13
86
here.16 Oldenberg finds out an Ëkhy¡na.17 Winternitz believes that it
has both an Epic and dramatic interest.18 Charpentier holds that
Vi¿v¡mitra spoke verses 1 to 3, 5 and 9, while the rivers did 4, 6 to 8
and 10. The last three verses are made out by him as a late addition.
Moreover, he feels unable to say whether it is an Ëkhy¡na or a drama.19
The Adolf Kaegi’s view of this dialogue hymn is that it is a historical
composition. He opines that the victorious princes love to hear their
achievements praised in the loud song and the singers soon know how
to make their services indispensable.20
This hymn is highly interesting from literary as well as historical
points of view.21 There are beautiful monologues in RV like the one of
the gambler. According to P.S Sastri there are a host of ballads songs,
exits, pure art, and rather pure poetry.22 P.V Kane considers the
dialogues in the RV, some of which are highly poetic and imaginative
and all of which must be regarded as precursors of the later classical
dramas.23 Thus scholars had tried to connect this hymn to Indian drama.
The whole hymn is taken by some scholars as reflecting the historical
16
Mysterium und Mimus im Riveda, H Haessel Verlag in Leipzig, 1908, P. 226.
Rigveda I , pg, 245.
18
W. Z .K. M., P. 23.
19
Die Suparnassage, pp.95-96.
20
Ibid., P. 129.
21
Îgvedic River Sarasvati, K Chattopadhyaya, Northern Book Centre, New Delhi, 1986, P.44.
22
Îgvedic Aesthetics, Bharatiya Vidya Prakashan, Delhi; 1988, P.95.
23
History of Sanskrit Poetics, Motilal Banarsidass Publishers, Delhi, 1971, P. 327.
17
87
fact of the migration of the Aryan civilization towards the east from
Punjab which was the home of Aryans. The reference to Bharatas and
their army in Îks 11 & 12 may be taken as supporting the above view.24
An ideological explanation of this dialogue hymn has been given by Dr.
R.N Vedalankar. According to him the great ideology and philosophy in
the dialogue is: ‘like Vi¿v¡mitra one can bring round and can control
great hurdles of life with sweet and peaceful means of talk and
behaviour. Vi¿v¡mitra creates the relation of sister ship with the rivers
and like good sisters; they are very kind to the brother and helpful.
Then, if the man has firm determination and the sense of efficiency in
his life, nothing can stand in his way of achieving his goal. Even the
rivers, oceans and mountains give the way for him happily.25
Sri Aurobindo has mentioned of the rivers and their dialogue with
Vi¿v¡mitra. He has clarified and elaborated the mythology and
symbolism. He sums up the philosophical thoughts of Vi¿v¡mitra as
follows, ‘Gods and men, says Vi¿v¡mitra in effect, kindle this divine
force by lighting the fires of the inner sacrifice; they enable it to work
by their adoration and submission to it; they express in heaven, that is to
say, in the pure mentality which is symbolized by DyauÅ, the knowing
of the seers, in other words the illuminations of the truth consciousness
24
25
Vedabharati, (Ed) Dr. M. Sivakumara swamy, Bharavi Prakasana, Bangalore, 1984, P.186.
The Îgvedic Legend, P.144
88
which exceeds mind and they do this in order to make a passage for this
divine force which in its strength seeking always to find the word of
right self expression aspires beyond mind.26 Another scholar opines as
follows, ‘If Vi¿v¡mitra arrived there with car and wagon; it must be the
entourage’s first crossing of the rivers. Significantly, Vi¿v¡mitra
addresses Vip¡¿a first, implying that he was parked to its west. There is
however a curious element. If Vi¿v¡mitra was crossing the rivers for the
first time, how did he know that the two waters reach the ocean? The
poem must therefore have been composed in commemoration of the
event. He based on the documentary evidence states that in the Îgvedic
times, the Sutlej joined the Beas and flowed into the ocean.’27
Macdonell and Keith have supposed that they (Vi¿v¡mitra and his
followmen) came from KurukÀetra and crossed the rivers from the East.
But what is more probable is that the rivers were ford from the west and
the Bharatas came from the Western parts of the Punjab. Vi¿v¡mitra led
them across the Sutlej and they probably settled near KurukÀetra. They
may have transferred to a river in their new home the proud name of
Sarasvati. As the Bharatas were in later times most honoured of all the
Aryan tribes and as other tribes probably followed in their wake and
26
27
Secret of the Veda, Sri Aurobindo Ashram, Pondicherry, 1956, P.113.
The Vedic People: Their History and Geography, Rajesh Kocchar, Orient Longman, New
Delhi,2000, P.126.
89
joined them in their new home it was this stream which in later times
exclusively received the name of Sarasvati.28
H.D Griswold says that, ‘in the Vedic age the Boundary Rivers
must have been also the scene of frequent crossings and recrossings in
connection with plundering raids. One can imagine, too, that individual
Vedic adventurers, of the spirit of Daniel Boone, would frequently cross
over a river into the territory of the Dasyus or of a hostile Aryan tribe,
and attempt exploits winning booty or having to get back to their own
side of the river as speedily as possible by swimming or by boat.29 He
says that this dialogue hymn is an interesting anticipation of the later
Indian drama. The whole hymn may have been used in later times as a
charm against accidents in crossing swollen streams. Especially was the
last stanza, which looks like a later addition, thus used as a magic
spell.’30
In the opinion of Shrikant G. Talageri áutudri and Vip¡¿a are not
referred to in a casual vein. They are referred to in a special context:
hymn III.33 is a special ode to these two rivers by Vi¿v¡mitra in
commemoration of a historical movement of the warrior bands of the
Bharatas led by Sud¡s and himself, across the billowing waters of these
28
Vedic Index of Names and Subjects, II.P.96-97.
The Religion of the Îgveda, H.D Griswold, Motilal Banarsidass Publishers, Delhi, 1971,
P.31-32.
30
Ibid., P.190.
29
90
rivers.31 This hymn is uttered as a safeguard for the Bharatas. But the
name of Sud¡s is not suggested. Any way this hymn hints at the help of
Vi¿v¡mitra to Bharatas for D¡¿ar¡jµa Yuddha.
The opinion of Nicholas Kazanas, people, of course, do not
usually go to a confluence, where the current is most turgid and
vehement to cross over: they either go higher up and cross two rivers or
lower down where the flow is smoother. However, since Vi¿v¡mitra
was a mighty sage, he could perform miracles, so the rivers complied
with his request and stopped flowing.32 He suggests this idea while
discussing the praise of river Sarasvati in several Îgvedic hymns.
This S£kta denotes a turning point in the life of Vedic sage
Vi¿v¡mitra and king Sud¡sa. The shifting of priesthood from
Vi¿v¡mitra to VasiÀ¶ha which resulted in D¡¿ar¡jµayuddha is of much
social and historical importance. This dialogue hymn was interpreted by
a number of scholars and was connected to drama, poetics etc. It has
social and cultural importance. Crossing of the rivers makes the sage
Vi¿v¡mitra a great sage. This is given by his self introducing Mantras. It
is an episode of human being overpowering natural forces. This incident
might have connection with the real incident of that age. This was of
importance in Vedic age and also the ready wit of Vi¿v¡mitra to praise
31
32
The Îgveda: A Historical Analysis, P.106.
Indo-Aryan Origins and other Vedic Issues, Aditya Prakashan, New Delhi, 2009, P.47.
91
Indra, by whose praise only he can reach his achievement. Vi¿v¡mitra’s
character as a seer becames clear here.
Vedic Social Life: Traces from Hymns of Vi¿v¡mitra
In the third Ma¸·ala of RV some social aspects are also found
reflected. Some hymns in the AV of Vi¿v¡mitra are to remove disease,
some are on exorcism, agriculture etc. These hymns are expressing the
social life in the Vedic age. Some notable points found in these hymns
include matters connected to the following aspects 1. Status of Women
2. Cure of Disease and Exorcism 3. Agriculture.
Status of Women
In the Vedic age the position of woman in the house – hold is
clear from the Vedic Mantras. The wife was the mistress of the
household. The position of the wife in relation to her husband was also
high in the Vedic age. The wife is emphatically called the mistress
(G¤hapatni) of her husband’s home.33 She participate in the Soma –
sacrifice with her husband. In the Vi¿v¡mitra Mantras these types of
praises of women are found. Some Mantras are as descried bellow.
Vi¿v¡mitra speaks about the man and wife, and identity of house
and housewife in the following Mantras:
VÉɪÉänùºiÉÆ ¨ÉPÉ´ÉxiºÉänÖù ªÉÉäÊxɺiÉÊnùk´ÉÉ ªÉÖHòÉ ½þ®úªÉÉä ´É½þxiÉÖ *
33
RV, X.85.26.
92
ªÉnùÉ EònùÉ SÉ ºÉÖxÉ´ÉÉ¨É ºÉÉä¨É¨ÉÎMxɹ]Âõ´ÉÉ nÚùiÉÉä vÉx´ÉÉiªÉSUô **34
A man’s wife, Maghavan, is his dwelling: verily she is his place
of birth: thither let your horses, harnessed (to your car), convey you: we
prepare the soma juice at the fit season: may Agni come as our
messenger before me. These aspects are also seen by the latter Sm¤ti
texts.35
Vi¿v¡mitra praises the divinities with their wives for the
sacrifice. The Mantras are as follows:
BäʦɮúMxÉä ºÉ®úlÉÆ ªÉÉÁ´ÉÉÇRÂó xÉÉxÉÉ®úlÉÆ ´ÉÉ Ê´É¦É´ÉÉä Á·ÉÉ& *
{ÉixÉÒ´ÉiÉϺjɶÉiÉÆ jÉÓ¶SÉ näù´ÉÉxÉxÉÖ¹´ÉvɨÉÉ ´É½þ ¨ÉÉnùªÉº´É **36
‘With all these in one chariot, Agni, or in many (chariots), come
to our presence, for your horses are able: bring the three and thirty
divinities with their wives, for the sake of (the sacrificial) food, and
exhilarate them (all with the soma libation)’. In this Mantra the equal
importance of the gods and their wives in the sacrifice is clear. Then:
¨É½þÉxiºÉvɺlÉä wÉÖ´É +É ÊxɹÉkÉÉä%xiÉtÉÇ´ÉÉ ¨ÉÉʽþxÉä ½þªÉǨÉÉhÉ& *
+ɺGäò ºÉ{ÉixÉÒ +VÉ®äú +¨ÉÞHäò ºÉ¤ÉnÖÇùPÉä =¯ûMÉɪɺªÉ vÉäxÉÚ **37
The great and adorable Agni is firm seated on his spacious throne
between heaven and earth; and the powerful fellow- brides (of the sun),
34
Ibid., III.53.4.
Manusm¤ti, Ch.9.
36
RV, III. 6.9.
37
Ibid., III.6.4.
35
93
the imperishable uninjurable (heaven and earth) are the two milkyielding cows of the wide- extending (Agni).
Ê{ÉiÉÖ¶SÉ MɦÉÈ VÉÊxÉiÉÖ¶SÉ ¤É§Éä {ÉÚ´ÉÔ®äúEòÉä +vɪÉi{ÉÒ{ªÉÉxÉÉ& *
´ÉÞ¹hÉä ºÉ{ÉixÉÒ ¶ÉÖSɪÉä ºÉ¤ÉxvÉÚ =¦Éä +º¨Éè ¨ÉxÉÖ¹ªÉä ÊxÉ {ÉÉʽþ **38
He cherishes the embryo of the parent (firmament) and of the
generator (of the world): he alone consumes many flourishing (plants);
the associated brides (of the sun, Heaven and Earth), who are kind to
man, are both of kin to that pure show ever (of blessing); do your, Agni,
ever preserve them. These Mantras say that the wives of sun are Heaven
and Earth. Then the position of household wife:
+{ÉÉ& ºÉÉä¨É¨ÉºiÉʨÉxpù |É ªÉÉʽþ Eò±ªÉÉhÉÒVÉÉǪÉÉ ºÉÖ®úhÉÆ MÉÞ½äþ iÉä *
ªÉjÉÉ ®úlɺªÉ ¤ÉÞ½þiÉÉä ÊxÉvÉÉxÉÆ Ê´É¨ÉÉäSÉxÉÆ ´ÉÉÊVÉxÉÉä nùÊIÉhÉÉ´ÉiÉ ** 39
‘When you have drunk the Soma, then, Indira, go home: an
auspicious life (abides) pleasantly in your dwelling: in either (case)
there is the standing in your car or liberating the steeds for provender’.
In this Mantra soma and wife are dealt with as of equal status. i.e. in
what manner soma is in the sacrifice in that way wife is in the house. In
the Vi¿v¡mitra Mantras the custom of that period the father’s properties
does not go to the daughter is found. Even though she is G¤hapatni, the
38
39
Ibid., III.1.10.
Ibid., III.53. 6.
94
controller of house hold, companion in Vedic rites, she is not equal to a
son in Vedic Society.
Cure of Disease and Exorcism
Important S£ktas of Vi¿v¡mitra in the AV are of the cure of
disease VI.44 and exorcism V. 15-16. Matter discussed in the hymn is
the cure of disease. The important Mantras are the following:
+ºlÉÉnÂù tÉè®úºlÉÉiÉ {ÉÞÊlÉ´ªÉºlÉÉnÂù Ê´É·ÉʨÉnÆù VÉMÉiÉ *
+ºlÉÖ´ÉÞÇIÉÉ >ðv´ÉǺ´Éx{ÉÉκiɹ`öÉnÂù ®úÉäMÉÉä +ªÉÆ iÉ´É **40
The heaven hath stood, the earth hath stood; this entire living
world hath stood; the trees have stood; sleeping erect; may this disease
of thine stand.
In this S£kta trees, heaven earth, etc. might have been used for
establishing the ‘Sthiratva’ or long lasting nature of wellbeing. Diseases
are never to come back after the usage of the AuÀadi which is praised.
‘What hundred remedies are thine, and (what) thousand,
assembled (with them thou art) the most excellent remedy for flux, the
best effacer of disease.’41
This Mantra is used for praises of AuÀadi. The AuÀadi has the
strength which makes it the foremost remedy among many. Praising
40
41
AV, VI. 44.1.
Whitney’s Tr. of AV, VI. 4.1.
95
its strength may be to increase the self confidence of patient. This
medicine help to recover of the disease, this belief of the sick person is
important thing in the treatment. So Vi¿v¡mitra act as a good
physician. The next Mantra is:
¯ûpùºªÉ ¨ÉÚjɨɺªÉ¨ÉÞiɺªÉ xÉÉʦÉ& *
ʴɹÉÉhÉEòÉ xÉÉ¨É ´ÉÉ +漃 Ê{ÉiÉßhÉÉÆ ¨ÉÚ±ÉÉnÖùÎilÉiÉÉ ´ÉÉiÉÒEÞòiÉxÉɶÉxÉÒ **42
Rudra’s urine art thou, the navel of the immortal (Am¤ta);
ViÀ¡¸aka (horny) by name art thou, arisen from the root of the fathers,
an effacer of the Vat¢k¤ita. ViÀ¡¸aka,ViÀ¡¸ika and ViÀa¸a, its other
names are KarkaÀ¤i´gi and MeÀa¿¤´gi.
This Mantra is used for praising the greatness of ViÀ¡¸aka. It is a
medicine which is used even in present day. It is metaphorically
pictured as the Rudra’s urine, navel of Am¤ta etc. This will be for
highlighting to the strength, quality etc of ViÀ¡¸aka.
Some S£ktas are mentioned for the exorcism to a plant. The
Mantra is as follows:
BEòÉ SÉ ¨Éä nù¶É SÉ ¨Éä%{É´ÉHòÉ®ú +Éä¹ÉvÉä *
@ñiÉVÉÉiÉ @ñiÉÉ´ÉÊ®ú ¨ÉvÉÖ ¨Éä ¨ÉvÉÖ±ÉÉ Eò®ú& **43
‘Both one of me and ten of me (are) the exorcisers (Apavakt¡r),
O herb; thou, born of right (Ît¡), thou rich in right, mayest thou,
42
43
AV, VI. 44.3.
Ibid., V. 15.1.
96
honeyed (Madhul¡), make honey for me’. In the next mantras the
number of exorcises are increased in to thousand. But he wanted only
one thing, ‘make honey for me.’44
This Mantra does not give the name of the plant. Here the word
Madhu meaning honey may be signifying the essence of plant. It is
prayed to give back the life of patients or to help to recover from the
disease. As exorcises may be in peril, so the disease also. Hence the
mantra may be indicating the all curing nature of the AuÀadi. If the
other meaning ‘speakers of scandal’ is intended then rescue from all
these persons is prayed. The herb is praised as the one and only solution
in the situation. In another S£kta also exorcism is discussed. The
Mantra is as follows:
ªÉtäEò´ÉÞ¹ÉÉä漃 ºÉÞVÉÉ®úºÉÉä%漃 **45
‘If thou, art sole chief, let go; sapless art thou’. In the next
Mantra, the number of chiefs is increased into eleven.46
Agriculture
AV gives a detailed description of the modes and implements
of agriculture. Vi¿v¡mitra narrates that ploughing of the lands and
forming rows in the soil as the fundamental process in cultivating the
44
Ibid., V.15.2-11.
Ibid., V. 16.1.
46
Ibid., V. 16.2-11.
45
97
farm. ‘Sita’ furrowed land was invoked, in the beginning to bestow
abundance of grains. The Mantras is as follows:
ºÉÒ®úÉ ªÉÖ\VÉÎxiÉ Eò´ÉªÉÉä ªÉÖMÉÉ Ê´É iÉx´ÉiÉä {ÉÞlÉEÂò *
vÉÒ®úÉ näù´Éä¹ÉÖ ºÉÖ¨xɪÉÉè **47
The poets (Kavi) harness the plows (S¢ra), they extend
severally the yokes- they the wise ones (Dh¢ra), with desire of favor
toward the gods. In the next Mantra sage Vi¿v¡mitra instruct to scatter
the seed in the prepared seed-bed. That is, ‘harness ye the plows,
extend the yokes; scatter (Vap) the seed here in the prepared womb;
may be bunch of Vir¡j be burdened for us; may the sickles draw in (¡yu) the ripe (grain) yet closer.48 The use of Pav¢ra perhaps suggests
irrigational purpose. The Mantra is as follows:
±ÉÉRÂóMɱÉÆ {É´ÉÒ®ú´ÉiÉ ºÉÖ¶ÉÒ¨ÉÆ ºÉÉä¨ÉºÉiºÉ¯û *
=ÊnùnÂù ´É{ÉiÉÖ MÉɨÉË´É |ɺlÉÉ´ÉnÂù ®úlÉ´ÉɽþxÉÆ {ÉҤɮúÓ |É¡ò´ªÉÇ%¨É **49
Let the plow (L¡ngala), lance- pointed, well- lying, with wellsmoothed handle, turn up (ud-vap) cow, sheep, an on-going chariotframe and plump wench. The next Mantra is, ‘let Indra hold down the
furrow; let P£shan defend it; let it; rich in milk, yield to us each
47
Ibid., III. 17.1.
Whitney’s Tr. of AV, III.17.2.
49
AV, III.17.3.
48
98
further summer.’50 The farmers ride on the plough. The ‘Sita’ is
invoked to help them and to drive the plough easily:
¶ÉÖxÉÆ ºÉÖ¡òɱÉÉ Ê´É iÉÖnùxiÉÖ ¦ÉÚ謃 ¶ÉÖxÉÆ EòÒxÉɶÉÉ +xÉÖ ªÉxiÉÖ ´ÉɽþÉxÉ *
¶ÉÖxÉɺÉÒ®úÉ ½þʴɹÉÉ iÉÉä¶É¨ÉÉxÉÉ ºÉÖÊ{É{{ɱÉÉ +Éä¹ÉvÉÒ& EòiÉǨɺ¨Éè ** 51
‘Successfully (áunam) let the plowmen follow the beasts of
draft; O áun¡s¢ra, do ye (two), dripping with oblation, make the herbs
rich in berries for this man.’ Bullocks, farmer, plough and whip should
be in a good condition so that ploughing may be smooth and easy:
¶ÉÖxÉÆ ´ÉɽþÉ& ¶ÉÖxÉÆ xÉ®ú& ¶ÉÖxÉÆ EÞò¹ÉiÉÖ ±ÉÉRÂóMɱɨÉ *
¶ÉÖxÉÆ ´É®újÉÉ ¤ÉvªÉxiÉÉÆ ¶ÉÖxɨɹ]ÅõɨÉÖÊnùRÂóMÉªÉ ** 52
Successfully let the draft- animals, successful the men,
successfully let the plow (L¡ngala) plow; successfully let the straps be
bound; successfully do thou brandish the goad. The word U˦ra also is
mentioned in this Mantra. S¢t¡ is the god of agriculture:
PÉÞiÉäxÉ ºÉÒiÉÉ ¨ÉvÉÖxÉÉ ºÉ¨ÉHòÉ Ê´É·Éènæù´Éè®úxÉÖ¨ÉiÉÉ ¨É¯ûÎnÂù¦É& *
ºÉÉ xÉ& ºÉÒiÉä {ɪɺÉɦªÉÉ´É´ÉÞiº´ÉÉäVÉǺ´ÉiÉÒ PÉÞiÉ´ÉiÉ Ê{Éx´É¨ÉÉxÉÉ ** 53
With ghee, with honey (Madhu) the furrow all anointed,
approved (Anuman) by all the gods, by the Maruts; do thou, O furrow,
50
Whitney ‘s Tr. of AV, III.17.4.
AV, III.17.5.
52
Ibid., III. 17.6.
53
Ibid., III.17.9.
51
99
turn hither unto as with milk, rich in refreshment, swelling with
fullness of ghee.
Some Mantras are pronounced with marking of cattle’s ear.
These Mantras give the prosperity to cattle by the special marking of
their ears. The Mantras are the following:
´ÉɪÉÖ®äúxÉÉ& ºÉ¨ÉÉEò®úiÉ i´É¹]õÉ {ÉÉä¹ÉÉªÉ ÊwɪÉiÉɨÉ *
<xpù +ɦªÉÉä +ÊvÉ ¥É´ÉnÂù ¯ûpùÉä ¦ÉÚ©Éä ÊSÉÊEòiºÉiÉÖ **54
‘May V¡yu collect them; let Tvash¶ar stay fast in order to
(their) prosperity; may Indra bless them; let Rudra take care for (their)
numbers’. The next Mantra is, ‘with the red knife (Svadhiti), make
thou a pair (Mithuna) on (their) two ear; the A¿vins have made the
mark; be that numerous by progeny.’55 Another is, ‘as the gods and
Asuras made (it), as human beings also, so, A¿vins, make ye the mark,
in order to thousand old prosperity.’56
In some Mantras the crease of barley is mentioned. Some
Mantras are addressed, at the time of the showing of the seed. Sage
Vi¿v¡mitra prays for the increase of his barley grain heap to grow
inexhaustible like the sea in the following Mantra:
54
Ibid., VI.141.1.
Whitney’s Tr. of AV, VI.141.2.
56
Ibid., VI.141.3.
55
100
=SUÅôªÉº´É ¤É½Öþ¦ÉÇ´É º´ÉäxÉ ¨É½þºÉÉ ªÉ´É *
¨ÉÞhÉÒʽþ Ê´É·ÉÉ {ÉÉjÉÉÊhÉ ¨ÉÉ i´ÉÉ Ênù´ªÉɶÉÊxÉ´ÉÇvÉÒiÉ **57
‘Rise up (ut-¿ri), become abundant (Bahu) with thine own
greatness, O barley; rain (m¤) all receptacles; let not the bolt from
heaven smite thee.’ The next Mantra is, ‘where we appeal unto thee,
the divine barley that listens, there (tat) rise up, like the sky; be
unexhausted, like the ocean.’58 Other is, ‘unexhausted be thine
attendants (Upasad), unexhausted thy heaps; thy bestowers be
unexhausted; thy eaters be unexhausted.’59
In these Mantras the work progress of the farming is pictured.
The cultivation, tools, animals used, farmers, growth of plants etc. are
very clearly described by Vi¿v¡mitra. He observes the minute details of
the processes of agriculture. This illustrates his knowledge as a good
farmer.
According to the scholars who believe in the historical
interpretation of the Vedas, the name of Vi¿v¡mitra is connected with
charms and spells. But they have all been for good purposes. That is,
57
AV, VI.142.1.
Whitney’s Tr.of AV, VI.142.2.
59
Ibid., VI.142.3.
58
101
the diseases were removed and food becomes abundant. So the sage is
called friend of the world.60
These hymns have connection to the daily life of common
people. Some of them are for successful agriculture. Some others are for
protection of cattle. Some are for curing disease. These medicines are
also used in the present age. These hymns are considered by some
scholars as charms and spells. But it’s not the case as seen in AV
Mantras. The studies of these Mantras, provides one with a feeling that
they are for the well being and are of common purposes. Through these
S£ktas, Vi¿v¡mitra gets the roles of physician, farmer etc. In these
S£ktas connected to agriculture one can observe another aspect also.
These might have been used as the songs sung to get relief from the
hardness of job. They give many good information of farming. In the
present day these information have relevance. They give the picture of
real agriculture which is not familiar in modern times.
Legends Connected to Vi¿v¡mitra: Traces from the Vedic
Sources
The Br¡hma¸as contain ancient myths, legends etc. as a part of
the literature. There are such stories connected to Vi¿v¡mitra. By the
term myth, here the traditional narratives usually involving
60
Îgvedic Legends, Prem chand Shridhar, Kalinga Publishers, Delhi, 2001, P.131-132.
102
supernatural or fancied persons etc are included. It also embodies
popular ideas on natural and social phenomena. Legend means a
traditional story popularly regarded as historical myth. Another
definition of myth is as a fable or legend embodying the convictions of
people as to their gods or other divine personage, their own origin and
early history and the heroes connected with it, or the origin of the
world; in a looser sense, any invented story; something or someone
having in existence in fact, and of legend it has been said that, legend
is a story or account non-historical or unverifiable, which is handed
down by tradition from earlier times and popularly accepted as factual;
any stories of this kind dealing with objects or people; a collection of
stories of any admirable person; as the legend of Robinhood.61
Such literature or tradition of legends and myths is studied by
number of scholars. They discussed the difference between myths and
legends. Myth is an object of sheer imagination the Legend has a
certain amount of fact although it is not always corroborated by
reality. Myth has its origin from the personification of natural
phenomena out of universal consternation and bewildering and
sometimes of desideratum of the power of redressing those super
powers; legend seeks establishment of mighty personages
61
Myth and Legends in the Br¡hma¸a Literature, P.10
103
symbolically taken from reality with high eulogy. The myth and
legend have thus been differentiated; the myth is therefore pure and
absolute imagination, the legend has a basis of fact, but amplifies,
abridges or modifies that basis at its pleasure. Another opinion is that,
myth is the creation of a fact out of an idea; legend the seeing in idea a
fact. The myth is purely the work of imagination; the legend has a
nucleus of fact.62
In the Aitareya Br¡hma¸a Vi¿v¡mitra has an important role in
the famous áuna¿¿epa legend.63 In the sacrifice which was contemplated
by king Hari¿chandra they officiated as priests. VasiÀ¶ha as the Brahma
and Vi¿v¡mitra as the Hot¡. Wonderful part of Vi¿v¡mitra is in the
story of áuna¿¿epa. Vi¿v¡mitra adopted him as his own son and has
given the highest place among his sons. But the fifty sons of Vi¿v¡mitra
did not like this. So he cursed to them to be of lower castes. They
became Andhras, Pu¸·ras, Sabaras, Pulindas and M£tibas, who live in
large numbers beyond the borders; most of the Dasyus are the
descendants of Vi¿v¡mitra.64 This legend has a connection with the
hierarchical caste system below the three Var¸as.
62
Ibid., P.11.
RB, VII.13- 18.
64
Ibid., P. 307.
63
104
áuna¿¿epa was called Devar¡ta after this and become a famous
Ku¿ika. In this story no reference is there hinting at the rivalry of
VasiÀ¶ha and Vi¿v¡mitra. But the hints of this rivalry are found in the
RV.65 The story of áuna¿¿epa is described in the RV also. áuna¿¿epa
praise the Varu¸a with Mantra. But in that version of the story the role
of Vi¿v¡mitra is not clear.
Vedas, Br¡hma¸as and Pur¡¸as are give importance to the role
of Vi¿v¡mitra in the áuna¿¿epa legend. In the Aitareya Br¡hma¸a,
human sacrifice is very clearly mentioned. This custom is not found in
other Br¡hma¸as.
Sarv¡nukrama¸i gives the details of áuna¿¿epa as Vi¿v¡mitra’s
adopted son.66 This part in the RV gives only the conditions binding,
prayer and relief of áuna¿¿epa. It is not stated who is the cause of these.
The commentary Ved¡rthad¢pika explains the context of adoption based
on the Itih¡sa story.67 This is described in the same manner of the
Br¡hma¸as, Pur¡¸as etc.
+ɹÉÉÇxÉÖGò¨ÉhÉä SÉÉäHÆò EòºªÉ xÉÚxÉÆ ¶ÉÖxÉ&¶Éä{É&* +ÉVÉÒMÉÌiÉ& EÞòÊjɨɺiÉÖ ´Éè·ÉÉʨÉjÉÉä näù´É®úÉiÉ&**
<ÊiÉ EÞòÊjɨÉ{ÉÖjÉi´ÉÆ SÉ näù´É®úÉiÉi´É¨Éä´É SÉ* +VÉÒMÉiÉǺÉÖiÉi´ÉÆ SÉ ´Éè·ÉÉʨÉjÉi´É¨Éä´É SÉ**
¶ÉÖxÉ&¶Éä{ɨɽþ¹ÉæºiÉÖ ºÉ¨ªÉMÉjÉ |É´ÉÌhÉiÉ* ¤ÉÆvÉIɪÉEò®úÒ {ÉɶɨÉÉäSÉxÉÒªÉ EòlÉäÊ®úiÉÉ**68
65
RV, I. 24 – 30; IX. 3.
Sarv¡nukrama¸I, P.6.
67
Ibid., I.24; P.83-86.
68
Ibid., P.86.
66
105
In the KauÀ¢taki Br¡hma¸a or á¡´kh¡yana Br¡hma¸a it is
recorded that Vi¿v¡mitra saw the several PraiÀas and AnupraiÀas.69
Vi¿v¡mitra and VasiÀ¶ha are associated with certain invocations.70
Nothing significant can be gleaned from these references except the fact
that both of them contributed to the development of the elaborate
sacrificial cult.71
In the Gopatha Br¡hma¸a speaks about the places where various
famous ÎÀis performed penance. Vi¿v¡mitra and Jamadagni performed
penance at a place called J¡madagna.72 Here the friendship between
Vi¿v¡mitra and Jamadagni becomes clear. It is also stated that sacrifice
is guarded by different ÎÀis. V¡madeva guarded it in the south,
VasiÀ¶ha in the middle, Bharadv¡ja in the north and Vi¿v¡mitra on all
sides. It is said that all will stand by Vi¿v¡mitra in this respect. In this
way the seers guarded the sacrifice zealously.73 In the Br¡hma¸as his
role is of a Purohita of king. Here Vi¿v¡mitra appears as a friend of all.
In the AË there is an exegetical comment on the name of
Vi¿v¡mitra. Vi¿v¡mitra is the friend of all and all is the friend of him.
The universe becomes friend of him who knows this hymn RV. III. 47
and of those for whom a Hot¤ priest, who knows this, recites this
69
RB, XXVIII.1. 2.
Ibid., XXV. 14.
71
The Vi¿v¡mitras and VasiÀ¶has, P. 54.
72
Gopatha Br¡hma¸a, I . 2.8.
73
Ibid., II . 3.23.
70
106
hymn.74 Because all what so ever was his friend, therefore he is
Vi¿v¡mitra.75 Then continues to describe the importance of the
thousand B¤ht¢s. ‘The consonants are the body, the vowels the souls,
the sibilants the breath. Knowing this he become Vasi˦ha (most
excellent). Thence took him the name. Indra proclaimed this to
Vi¿v¡mitra. Indra proclaimed this to Bharadv¡ja, so Indra is in
sacrifices invoked by him as a friend.’76
áË says that Vi¿v¡mitra went to the dear home of Indra. Being
pleased Indra proclaimed the Vy¡h¤tis to him.77 This is similar to the
AË (II.2.4). He is associated with certain hymns and formulas.78 He is
also mentioned among the teachers of this Ëra¸yaka.79
There is very little of historical importance about Vi¿v¡mitra in
these texts. These recorded his prominent role in the áuna¿¿epa legend
over lordship of the Bharatas, friendly relation with Indra, close
association with Jamadagni, seer ship of several S¡mans and hymns,
priesthood and so on.
In the ËrÀeya UpaniÀad the ÎÀis are assembled to investigate the
truth. They were not to refute one another but to learn the truth from
74
AË, (Tr.) A.B Keith, Eastern Book Linkers, Delhi, 1995, I.2.2.
Ibid., II.2.1.
76
Ibid., II.2.4.
77
áË, (Ed) Bhim Dev, Vishveshvaranand Vedic Research Institute, Hoshiarpar, 1980, I.6.
78
Ibid., II.7, 16.
79
Ibid., XV.1.
75
107
one another. Vi¿v¡mitra spoke first to show his knowledge: ‘what is on
the earth and in the heaven, immovable, not contained in anything else,
containing everything in itself, like the Ëk¡¿a that is immovable,
contains everything and is not contained in anything and in which the
rumbling clouds, flashing with lightning, appear thundering terribly,
this I know as the Brahman. For even if one burnt it with five and
moistened it with water and bound it and fastened together with leather
straps and beat it with iron hammers and pierced it with needles and
embedded it on spikes and bored through it with iron nails and smeared
it with mud and hewed it with the axe and stabbed in the heart, still all
this would leave behind to trace on it none can restrain it, none can go
beyond it.’80 Concept of Brahman according to the Vi¿v¡mitra’s stream
of thought is mentioned here.
In the Vedic sources the Vi¿v¡mitra Nad¢samv¡da S£kta is a very
important in the historical and social evaluation. Vi¿v¡mitra gave an
important position to women in his Mantras. He compares the status of
the Soma in the sacrifice as like that of the women in the home. The
Vi¿v¡mitra mantras in the AV give importance for social life. They are
directly connected to the society. The detailed descriptions given by
Vi¿v¡mitra attained him prominence among the sages of AV. The
80
Sixty UpaniÀads of the Veda, (Tr.) Paul Deussen, V.M. Bedekar & G.B. Palsule, Motilal
Banarsidass Publishers, Delhi, 1980, Vol. II. P. 919.
108
legend of áuna¿¿epa is an example of helping mentality of Vi¿v¡mitra.
He appears here as a friend of society who questions the improper deeds
of king and his Purohita. The stream of thinkers who raise questions
against the existing and established customs is represented here by
Vi¿v¡mitra. We find Vi¿v¡mitra in many such occasions in legends and
myths. This social and historical connotations of Vi¿v¡mitra goes to the
mythological characterization of Vi¿v¡mitra. They are studied in the
next chapter.
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