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 Chapter -1
An Analysis of Specific Philosophical Hymns

1.0 Introduction

apauruseyam vakyam vedah. Each word of the veda is replete with

philosophy and it is very difficult to interpret the vedic mantras. But still
through the help of the ancient as well as the modem commentators an attempt
is made here to analyse some important philosophical hymns in the AV, by
depicting the directions of their expressions and contents and taking into
consideration some intrinsic features.

The specific philosophical hymns are

1. Vak Suktam (AV IV.30)

2. Virat Suktam (AV VIII.9.10)

3. Kama Suktam (AV IX.2)

4. Kena Suktam (AV X.2)

5. Skambha Suktam (AV X.7.8)

6. Prana Suktam (AV XI.4)

7. Brahmacarl Suktam (AV XI.5) /

8. Ucchista Suktam (AV XI.7)

9. Rohita Suktam (AV XIII.1-4)

10. Kala Suktam (AV XIX. 53,54)

[14]
1.1 Vak

1.1.0 Introduction

In the AV, a variety of abstract concepts are personified as the possessor

of the divine power. One of these concepts is Vak (Speech). Vak or speech is
later developed by the Sanskrit grammarians and philosophers as the multiform
vedic mythology and speculations. According to them, the whole universe is
the evolutionary condition of the ‘Sabda Brahman V The world is created by
the personal self conscious God who acts by his intelligence and will. This
divine will is expressed in the word or vak. Thus word is :he act of the divine
will and the active expression of character.

The base of philosophy of Grammar is vaktattva which is prevalent in the

earliest text, the RV (VIII. 100.11). Therein, the vak has been mentioned as
kamadhenu. The RV also says that Brahman is the base of the vaktattva and
that is the ultimate truth(i?V 1.164.34,35). In the JRV(L3.12), Vak is Brahman,
the will of the supreme. Vak, word, wisdom, is created in the RV as the all­
knowing. The first bom of Rta is Vak.12 3yavat
4 brahma tisthati tdvatl vak? This
word is conceived as personal like Hiranyagarbha{gold-germ),the world- soul.
Two whole hymns, X.71 and X.125 are dedicated to vak in the RV. Vak is said
to be the serpent queen, sarparahl? In treatises on yoga, it is called kundalinl
or vag-devl. In the Chan-Up{III. 12.1), it is said the vdg vai gayatrl, speech,
verrily, is Gayatrl, the Brahman. The Bd. Up. (IV. 1) also mentions the vak as
parabrahman. The Ait. Br. (11.38) metions vak as the cause of arthatattva. This
can be said as the foundation of the philosophy of word and meaning.

1. anadinidhanam brahma iabdatattvam yadaksaram /

vivarttate’rthabhavena prakriya jagato yatall //
Bhartrhari's Vakyapadlyam - Brahmakandam - 1.1
2. AVII. 1.4
3. RVX. 114.8
4. ftVX.189; X.125.3

[15]
 In the AV, vak is celebrated alone in two hymns (IV.30; VIL43) which are
attributed to the seers Atharva and Praskanvah. In the fourth kanda thirtieth
hymn of the AV, the universal character of goddess vak has been described. In
the VII.43 and IV. 30.of the AV, vak is considered as the power of the potent
world which is behind all the dynamism of the manifestation. Besides, in the
entire samhita vak also is found in the hymns of the different deities or
connected with other subjects. According to the AV, the vak has been metioned
as prajapati and the creator of daivi and asurl creation(XIX.9.3).

An important hymn in the kanda IV of the AV, is known as Rastradevl

or vak suktam, attributed to the seer Atharva. The hymn comprises of eight
mantras wherein goddess vak gives her own description in an autobiographical
style. This hymn is applied in the ceremony (10.16-9) for generation of
msdom(medhajanana), being said over a child before taking of the breast, and
also at its first use of speech; also in the ceremony of forming part of the
upanayana by the kauMkasutram. This hymn is not found in paippalada, but
occurs in RV (X.125) ascribed by the tradition to vagambhrni, daughter of
Ambhma with slight differences of order which are pointed out by W.D.
Whitney in his translation of the AV.5

Sayanacarya has separately written commentary on the same available in

the RV and the AV, though in essence the commentary remains similar. Where
as in the RV he writes in the prologue to the hymns that vak, who is the
daughter of sage Ambhma and who was brahmavidusl praises herself in the
hymn, he refers to the kauMka oriented abhimantranas in his prologue to the
same hymn in the AV. Now it is clear that certain socio-ritual obligations and
compulsions of the later period induced him to interpret the same hymns or
mantras differently though it is equally available both in the RV and the AV,
The resultant conclusion is that the vedic poets whether in the RV or in the

5. W.D.Whitney, The Athrava-veda-samhita, p.200

[16]
AV, had no idea or concept of abhicara or abhimantrana before them. While
the later Indian tradition attributed abhicara etc. to the mantras of the AV, the
western scholars found it fit to translate the word abhicara as magic charm and
sorcery 6 Vak conceives the hymn in a pantheistic mood and her unity is also
related with the universe. So the name vak is really metaphorical and it may
be the name of vak Sarasvatl or the goddess of speech or abstract Sabda
Brahman.

According to Whitney, there is an utter absence in the details of anything

distinctly pointing to speech, and can only believe that the attribution is an old
conjecture, a suggested solution of a riddle, which “space” or “faith”or
“right”(rta)would have equally satisfied. But the explanation is universally
accepted among Hindu authorities, old and new and hardly questioned by
European scholars.7

Thus the vak hymn (IV.30) of the AV, unfolds before us philosophical
subtleties, wherein the goddess vak describes herself as the supreme overlord
of all the terrestrial and divine objects and beings, in an expression of
autobiographical style.

Some features of the goddess vak as ascribed in this hymn may be

analysed as follows :

l.l.lVak as identified with maya

In the AV, vak is known as maya which has various attributive names like
viraj, prthvl, rohinl, vrsati, ratri, usa etc. Brahman creates this universe
accompanied with maya. So all the powers of Brahman exists in this maya and
it is undifferentiated from Brahman. There is the mutual interdependent
relationship among them. When Brahman attached with Maya in the

6. S.K.Bali, Historical and critical studies in the Athharvaveda, p.58

7. W.D.Whitney, The Athrava-veda-sarnhita, p.201

[17]
vijnanamdyd stage, it is known as vagadvitlya. So in some places vak is also
known as Brahman. Perhaps in this sense Sayanacarya in his prologue says that
vak is “advitiyabrahmatmika” or the supreme soul.

Vak identified herself with paramdtmd. She describes herself as the supreme
overlord of all the terrestrial and divine objects and beings. She is the creatrix
and fosterer of all the gods, viz. the Rudras, the Vasus, the Adityas, the
ViSvedevas, the Mitravarunas, Indra, Agni and the Ativinis. Thus she praises
her powerful deeds as follows:

aham rudrebhirvasubhiscaramyahamadityairuta vUvadevaih /

aham mitravarunobha vibharmyahamindragnl ahamativinobha //

(AV IV. 30.1)

“I go about with Rudra, the Vasus, I with the Adityas and the all-gods
I bear Mitra and Varuna both, I Indra and Agni, I both Alvins.8 Vak being
the supreme God, bestows upon the worshippers all the prosperities of life. She
has praised herself as the sovereign queen and collectress of treasure:

aham rdstri samgamani vasunam cikitusi prathama yajmydnam /

tarn md deva vyadadhuh purutra bhuristhatram bhuryaveSayantah //

(AV IV.30.2j

“ I am queen, gatherer of good things, the first that has understood the
matters of sacrifice ; me here the gods distributed manifoldly, making me of
many stations enter into many”.9 The word rdstri (AV IV.30.2 : RV X. 125.3)
used in the vak sukta as an adjective of vak, has been translated by Sayana as
meaning Kvara (i.e. God) in both the Vedas. She gives intellect and knowledge
to all the people. Thus in the third stanza she describes her power by declaration
that what she wishes that can she do :

8. W.D.Whitney, The Atharva-veda-samhita, p.200

9. Ibid.
[18]
 ahameva svayamidam vadami justam devanamuta manusanam /
yam lcamaye tamtamugram krnomi tarn brahmanam tamrsim sumedham//
(AV IV. 30.3)

"I my own self say this, (which is) enjoyable of gods and of men;
whomsoever I desire, him I make formidable, him priest (Brahman), him seer,
him very wise".10 The whole world is embodied in this vak.

1.1.2 Vak compared with Sarasvatl and Vayw

The Goddess Sarasvatl who becomes later on an impersonation of language,
is also identified with vafc is known as vafe saravatl.

sarasvatlmanumatim bhagam yanto havamahe/

vacam iustam madhumatlmavadisam devanam devahutisu//
(AV V.7.4)
yarn ydcdmyaham vaca sarasvatya manoyuja /
fraddha tamadya vindatu datta somena babhruna//
This mantra (V.7.5) is applied while drinking the soma. Vak may be
compared with vayu. The first bom of rta is called vak.*11 In the RV (VIH.26.21)
vayu is called the lord of rta. In the form of vayu, vak considered as the power
of the potent world which is behind all dynamism of the manifestations.

yadyantarlkse yadi vata asa yadi vrksesu yadi volapesu /

yadatinavat paiava udyamanam tad brahmanam punarasmanupaitu //

(AV VII.66)

In the AV (IV.30.8) vak is also identified herself as the wind : ahameva

vata iva pravamyarabhamana bhuvanani vUvai

Thus vak the power of the potent world which is behind all the dynamism
of the manifestations is described in this hymn.

10. Tr. by. W.D.Whitney, The Athrava-veda samhita, p.200

11. AV II. 1.4
[19]
1.1.3 Vak personified as speech

Vak is personified as the speech as is evident from the following mantra -

diiaScatasro'ivataryo devarathasya purodaSah iapha antarlksamuddhih /

dyavaprthivl paksasl rtavo 'bhi '&avo ’ntardeteh kimkara vak parirathyam //(AV
VIII.8.22)
The four-regions are the she-mules of the gods' chariot, the purodasas
(sacrificial rice-cakes) the hoofs, the atmosphere the seat (of the wagon)
Heaven and earth are its two sides, the seasons the ruins, the intermediate
regions the attendants, Vak (speech) the road.12 In the AV (V.20.1), hymns to
the battle drum, vak personified as the high sounds of the wooden drums. The
purohita of the king sounds them thrice and hands them over to the warriors
as they go forth to battle. A nice illustration given by the Tait. Sa. (VI. 1,4,1),
is that ‘Vak’ once upon a time escaped from the gods, and settled in the trees....
Her voice still resounds in wooden instruments.

Vak is also identified as the lord of speech, (Vacaspati) (AV XIII. 1.17-
19). These three mantras are employed at practices designed to ensure gain in
business, while addressing the rising sun. In the IX.2.5 of the AV, vak is
known as vak viraj (ruling or respledent speech) the daughter of Kama, as the
milch cow whom the gods begot. In the Bd.Up. (V.8.1) speech is symbolised
as a milch, cow vacant dhenutn upaslta. One should meditate on speech as a
milch-cow. She has four udders which are the sounds, svaha, vasat, hanta and
svadha. The gods live on two of her udders, the sounds svaha and vasat; men
on the sound hanta, and the fathers on the sound svadha. The vital breath is
her bull and mind the calf.

Thus this vak (speech) is eternal from which the whole universe is created.

12. M. Bloomfield, Hymns of the Atharvaveda, SBE,Vol. XLII, p.120

[20]
1.1.4 Vak as §abda- brahman

According to the vak hymn, vak-brahman is interpreted as the substratum

of the whole world. According to Bhartrhari the objective world is vivarta of
Sabda and this idea-has been developed in the principal form of the philosophy
of word and meaning.

In seventh verse of the vak hymn (AV IV.30.7) the idea regarding vak as
Brahman, the creator is clear. The following views of Wallis on cosmology
confirm the vak as the creator of the world. Wallis observes thus; ‘vac’ “Speech”
is celebrated alone in two whole hymns in the (RV X. 71) and (X. 125), of
which the former shows that the primary application of the name was to the
voice of the hymn, the means of communication between heaven and earth at
the sacrifice. The other hymns illustrate the constant assimilation of the varied
phenomena of nature to the sacrifice; all that has a voice in nature, the thunder
of the storm, the reawaking of life at dawn, with songs of rejoicing over the
new birth of the world, are embodied in this vac in the same way as it is said
of Brhaspati, that he embraces all things that are. It is thus another expression
for that idea of the unity of the world, which we have seen crowning the
mystical speculations of all the more abstract hymns of the collection.13

Bhartrhari’s philosophical level is wellknown as ‘iabdadvaitavada.

According to Sabdadvaitavada, abda-brahman is anadi and ananta and the
world is the manifestation of $abda-brahman . In the Advaita vedanta also,
the world is described as the vivarta of Brahman. The vak originally is of four
types, para, pafyantl, madhyama and vaikharl

para vanmulacakrastha paiyanfl nabhisamsthiiaf

hrdistha madhyama jneya vaikharl kanthaddsaga /f

13. H.W. Wallis, The Cosmology of the Rgveda, p. 85

[21]
 vaikharya hi krto nadah paraSravanagocarah,

madhyamaya krto nadah sphoto vyahjaka ucyate//14

NageSa describes first of all in Kvara, maya, the seed power of creation is

originated and afterwards the tiakti tattva, which is unmanifest triguna bindu, is

created. The bindu has three parts-cidamSa, cidacidamSa and the nadacidamfa.

The nada is paravak as iabda-brahman. pafyanti vak as Brahman, contemplates

to create the world of name and form through its mayaSakti and afterwards through

its kalaSakti creates the five elements, the akatedi. In the RV it is said that -

catvdri vak parimitd padani tdni bidurbrahmana ye manisinah/

guha trim nihita nehgayanti turiyam vdco manusya vadanti//
(RV 1.164.45) : (AV IX. 10.27)

In the AV it is said that-

Mvasta eka a$ivasta ekdh sarva bibharsi sumanasya manah /

tisro vdco nihita antarasmin tasameka vi papdtanu ghosam //

(AV VII.43.1)

Sayanacarya, in his introduction to the Atharva Veda bhasya says-

tiabdabrahma yadekam yaccaitanyam ca sarvabhutanam /

yat parinamastribhuvanamakhilamidam jayati sa vanill15

In Mand.Up. it is said- 'omityetadaksarmidam sarvard - Om which is

otherwise known as (pranavah, is the Brahman.

In the AV this syllable om which is narrated in this way-

rco aksare parame vyoman yasmin deva adhivUve niseduh /

yastanna veda kirnrcd karisyati, ya it tad viduste ami samasatell

(AV IX .10.18)

14, Nagesabhatta, Paramalaghumahjusa, Sphotanirupanam

15. Atharva Veda Samhita with Sayana's Commentary, p.20

[22]
 According to Bhartrhari it is the iabda-brahman which leads to moksa.
As it is said by Patanjali in the Mahabhasya -

ekah Sabdah samyak jfiatah, susthu prayuktah

svarge loke ca kamadhug bhavati

1.1.5 Vak as the Supreme-Soul

In the AV, the vak hymn (IY.30) also represents the theory of causation,
wherein vak, has been described as Satcidananda Brahman, and thus the
substratum of the whole universe. Vak is immanent in all the Gods. She goes
with Rudra, the Vasus and with Adityas. She bears Mitra and Varuna. She
declares herself as the Indra, Agni and both the Alvins. Being the Supreme
Goddess, she bestows upon the worshippers all the prosperities of life. She is
the sovereign queen and collectress of treasure. She is the first one who has
understood the matters of sacrifice. The gods have distributed her manifoldly.
She is of multiple stations and has entered into many. She gives intellect and
knowledge to all the people. She can do what she wishes.

The whole world is embodied in the vak. She extends herself in all the
beings. Vak at the end identifies herself with the supreme being as she moves
everywhere like the wind. The last two verses of IV. 30 will suffice as an
illustration of the general terms in which the universal nature of vak finds
experssion in this way :

aham suve pitaramasya murdhan mama yonirapsvantah samudre/

tato vi tisthe bhuvanani vUvotamum dyam varsmanopa sprSami

(AV IV.30.7)
In this verse, the goddess vak has indicated her birth, “I quicken (give
birth to?) the father in its (his?) head; my womb(yom) is within the waters, the
ocean; Hence I extend myself (Vi-tisthe) to all beings; even yon sky I touch

[23]
with my summit.16 In the last mantra the seer is identified with the supreme
being and describes her greatest powers and she is so subtle that she would
cross over all the terrestrial and celestial entities: Thus the verse is:

ahameva vdta iva pravamyarabhamana bhuvanani vitiva /

paro diva para end prthivyaitavatl mahimna sam babhuva//
(AV IV.30.8)

“I myself blow forth or like the wind, taking hold upon all beings;
beyond the sky, beyond the earth here such have I become by greatness”.17 In
seventh verse of the vak hymn the idea regarding vak as Brahman, the creator
is clear. The world ‘pitaram\ the father Heaven or Sky, produced from vak
identified with parmatma, the Supreme and Universal Soul. Sayanacarya has
interpreted this idea (paro diva para end prthivya) differently. He says that vak
being the supreme Reality is free from the influence of any kind of vikdra (i.e.
change). In this way the goddess vak describes her greatest powers bestowing
upon the people worldly prosperities and intellectual heights.

Vak is the source and regulating spirit of all things. It may be regarded
as a metaphorical name of word which creates everything. In the Brahmana
literature vak is mystically conceived as Brahman. In later literature vak becomes
identified with Sarasvati, the goddess of speech or with the abstract
Ԥabdabrahmari>. In this way vak hymn has been elaborated through various
mystical interpretations in the whole Vedic literature. The hymn is a mark of
advancement towards monotheism from the polytheistic attitude of vedic
worship. It has been observed that the docrtine of Sabdabrahman, later developed
by Sanskrit grammarians and philosophers of India, has its genesis in this
hymn which occurs both in the RV and the AV.

16. W.D. Whiteny, The Atharva Veda Samhita, p.201

17. Ibid.

[24]
1.2 Virat

1.2.0 Introduction
In the eighth kanda of the AV, two hymns (VIII.9,10) are dedicated to the
glorification of virat by the seer Atharva and the hymns can aptly be divided
into two parts : One artha sukta of twenty three verses and one parydya sukta
with six paryayas of thirty-three verses18. The deities of this hymn are Kafyapah,
six seers, metres and virat. Specifically this hymn is dedicated to virat or the
wonders of the origin. Sayana in his prologue says that one can acquire heaven
with the silent repetition of the mantra "kutastau", "Virad vai". Besides, there
are many stray references to virat in the other hymns. In the VIII.9,10 of the
AV, Virat is personified as a pair of male and female divinity; It is of frequent
occurence as a female divinity (VIII. 5.10; VIII.8.23; XIII. 1.33) or sometimes
occur as an epithet (IV.2.7; VIII.9.7; IX.2.5; IX.10.24; XIA12; XI.5.7; XI.5.16)
and sometimes metres of that name (VHI.9.3,3; IX.2.5; XII.3.ii).

The etymological meaning of virat is, vividham rajante vastunyatraiti

virat. According to purusa suktam (found in RV X.90, Yajur veda. XXXI. 16.5;
AV. XIX.6) Virat is the first creation of perfect Being. He was the intermediate
between the primordial purusa and the created purusa. In the AV, it is of
frequent occurence, and sometimes is an epithet and sometimes denotes the
metre of that name. According to Muir Virat may refer to the female counterpart
of the Perfect Being as Aditi of Daksa. In the kama suktam (IX.2.5.) of the
AV, virat is being described as the daughter of kama, who is allegorically
represented as a cow, known as vak viraj. In the Bd. Up. Viraj is called the
wife of Purusa.

In the AV, hymns (VIII.9.10) dedicated to virat or the wonders of the

origins and manifestations are highly symbolic. Here virat described as the First
18. “The artha-suktas constitute the norm and the paryayas, beginning with virad va (VIII. 10.1), the
exception : yavad ekada&akandantam artha-sukta-prakrtis, tavad vihayc paryayan viradva-prabhrtin
iti” - W.D Whitney, The Atharva-Veda, Samhita, p.471

[25]
Being, as the primordial principle of the whole universe, is represented as an
attribute of a pair of male and female counterpart which is represented as a
desire-yielding cow. Sat. Br. says that the male and female attributes of the Virat
is Indra and his wife Indrani and they exist in the eyes of the human being.19

Jaim.Br. says that these two forms are designated for the gods and the
human beings.20 At one place viraj is recognised as the Yajna,21 as is described
in the Purusa Suktam. As the act of creation is treated as a sacrifice in which
Purusa is the victim, so also it is said that virad is the sacrifice, from which
the whole universe is begotten. It is also said that virat is the form of "prana"
who resides in the human-body.22

Thus in these two hymns of the AV (VIIL9.10) virat is personified as the

primordial principle of the whole universe. The evolution of the world has its
starting point in the association of the Purusa and Prakrti. This Purusa and
Prakrti represent in these hymns as a pair of male and female counterpart which
is symbolically represented as a desire-yielding cow. The entire idea has been
sufficiently explained in these hymns in different styles through symbolism and
mysticism and many of it's ideas are not easily comprehensible. This hymn is
also found in Paipp.S. XVI. (except 19, 20, Verses). The Wait. Su. (33.8)
allows the use of twenty one verses in the sattra sacrifice.

1.2.1 The Significance of Virat : as in the hymn (VIII.9) of the AV

The virat suktam of the AV (VIII.9) consisting of twenty six mantras is a

metaphysical enquiry regarding the significance of virat and through these queries
the real nature of virat can be imagined. The poet puts certain questions and
answers himself respectively. Virat, the first creation of the Perfect Being was the

19. athaitad vame'ksani purusarttpam (esa'sya daksine vartamanasyendrakhyasya purusasya) patni virat
(Sat. Br.XIV.6.II.3.j
20. athaite daivi ca manusi ca virajau (Jaim.Br.1.252)
21. ta eta tisro virajo daivi yajfiiya manusi saisa daivi vira4 yadime lokah (Jaim.Br. I.246j
22. athaisa manusi virad yadime puruse pranah.....tasya etasya annamevapidhanam : Jaim. Br. (1.246)

[26]
intermediate between the primordial Purusa and the created PurusaP The
evolution of the world has its starting point in the association of the Purusa with
Prakrti. Thus Prakrti is the ultimate cause of the world. In the AV (VIII.9,10)
virat is personified as the absolute, with an attribute of the pair of a male and
female24 as the universe being procreated by the Purusa and Prakrti.

Virat is symbolically represented as a desire-yielding cow from whom the

whole universe is begotten. From the very beginning of this hymn the seer puts
certain questions arid answers these questions respectively in this way.

kutastau jatau katamah so'ardhah kasmallokdt katamasyah prthivyahl

vatsau virajah saliladudaitam tau tva prcchami katarena dugdhaU
(AV vm.9.i)
and the answer is -
yo akrandayat salilam mahitva yonim krtva tribhujam Sayanah/

vatsah kamadugho virajah sa guha cakre tanvah paracaih//

(AV VIII.9.2)

These mantras are a curious revelation of the seer Atharva on the mystery
of the universe. Hence he asks Whence (where those two bom) which side
(ardha) was that ? Out of what world ? out of which earth ? the two young
(vatsa) of the Viraj rose out of salila\ of those I ask thee; by whether (of them
was) she milked.25 Thus here the very question is in a way the answer to the
same. He who caused the sea to resound (krand) with greatness, making a three
fold lair (yoni) as he lays, the desire-milking young of the Viraj he made his
bodies secret (guha) in the distance.26

Water or Salila is the first creation of Brahman and this sallla is otherwise
known as Prakrti.. Here Viraj is in the form of 'Sallla' the Prakrti, with
23. RV X. 90.5 AV XIX.6.9
24. ko virajo mithunatvam pra veda (AV. VIII.9.10)
25. W.D.Whitney, The Atharva-Veda Samhita, p,5G7
26. Ibid.
[27]
resounding pervades all over the universe. Which is also symbolically represented
as a desire-yielding cow and also known as vak viraj {AV IX.2.5) the daughter
of kama. Because vak is an active expression of the cosmic will. So in the form
of sallla, with resounding it pervades all over the Universe and his secret is
in distance. Here the two calves of viraj represent the hvara and Jiva, or
represent the male and female counterpart of the human beings. Prakrti is
associated with triguna i.e. sattva, raja and tama and speech or $abda-
brahman which is also known as vak viraj, is superior to them, which is
known by the priest (Brahman) by the penance (brahmalnad vidyat tapasa).

Again question and answer placed side by side :

brhatah pari samani sasthdt pancadhi nirmita/

brhad brhatyd nirmitam kuto'dhi brhati mita//(AV VIII.9.4)

brhat or the universe was fashioned out of brhati {Prakrti). The seer
curious to know out of what was brhati made ? And the answer is :

vrhati pari matraya maturmatradhi nirmita/

maya ha yajhe mdyaya rndydyd matall pari//(AV VIII.9.5)

Brhati or Prakrti which was fashioned out of the measure (matra) as a

mother from the supreme soul and illusion {maya) was bom from this supreme
power's illusion and mdtali (the Individual soul) is also bom out of illusion.
In the sixth verse it is said that the sky above is vaUvanara's counterpart, far
as Agni forced apart the two firmaments. The seer asks to the six seers about
the real nature of this supreme soul-

sat tva prcchama rsayah kas’yapeme tvam hi yuktam yuyukse yogyam ca/

virajamahurbrahmanah pitaram tarn no vi dhehi yatidha sakhibhyah//

(AV VIII.9.7)

Here six seers represent the six organs of the human body and ka&yapa
is the seventh seer who resides in the form of prana. In the Tait. Ar 1.8.8.
[28]
kafyapah patiyako bhavati yatsarvam paripa&yatiti souksmyat', and katiyapa is
identified as prana. The six seers ask to the seer Kagyapa - why viraj is called
the father of the Brahman - and the answer is given in the eighth verse - after
whom, when removed the sacrifices remove, when attending, they attend on,
in whose course impulse the monster (yaksa) stirs - that, o seers, is the viraj
in the highest firmament. Though this viraj (prakrti) is unconscious (jada), she
goes by the breath (prana, the supremesoul) of breathing ones. Viraj goes unto
svaraj, Viraj that touches, that is adapted to everything - some see her, some
see her not.

apranaiti pranena pranatlnam virat svardjyamabhyeti paScat/

viivam mr§anttrnabhirupam virdjam pa&yanti tve na tve pa&yantyenam //

(AV VIII.9.9.J
Thus one can see the manifestation of prakrti, but one can not see what is
beyond this universe. Again in the tenth verse it is asked who understands the
pair-ness of viraj ? who the seasons etc. Everybody knows that the pro-creation
is possible by the couple of male and female. So here viraj is identified as the
couple of male and female and the seer asks who knows this pair-ness of viraj :

ko virajo mithunatvam praveda ka rtun ka u kalpamasydh /

kraman ko asyah katidha vidugdhan ko asya dhama katidha vyustih//
(AV VIII.9.10J
And the answer is -
iyameva sa yd prathama vyaucchadasvitarasu carati pravista/
mahanto asyam mahimano antarbadhurjigaya navagajjanitri//
(AV VIII.9.11)
This virat is the first shone forth and having entered among these, she
goes all over the universe. The great mightiness are within her. Here virat is
identified as the woman, the new-going genetrix. In the twelveth verse this pair
of virat is identified as the metre having two wings and these two wings move
[29]
on together as the spouses of the sun, having understanding, having ensigns,
unaging, having abundant seed. In the fourteenth it is said that Agni and Soma
are the two wings of the sacrifice - Gayatrl, Tristubh, Jagati, Anusthubh,
Brhati bringing heaven for the sacrificer. In the fifteenth, sixteenth, seventeenth,
eighteenth and ninteenth verses the principles which have been implemented
in these numbers like five, six, seven all are placed side by side. These are
depicted in this way-

panca vyustlranu pancadohagam pahcanamnimrtavo'nu panca /

panca dtiah paiicadaSena klrptasta ekamurdhnlrabhi lokamekam //

sad jata bhuta prathama jartasya sadu samani sadaham vahanti /

sadyogam Siramanu samasama saddhurdyavaprthivih sadurvlh //

sadahuh Mtan sadumasa usnanrtum no vriita yatamo'tiriktah/

sapta supamah kavayo niseduh sapta chandamsyanu sapta dlksah//

sapta homah safnidho ha sapta madhuni saptartavo ha sapta /

saptajyani pari bhutamdyan tah saptagrdhra iti §usruma vayam //

sapta cchandamsi caturutaranyanyo anyasminnadhyarpitani /

katharn stomdh prati tisthanti tesu tdni stomesu kaihamarpitani //
(AV VIII.9.15-19)

Again in the last part of the ninteenth verse and in the twentieth verse,
the seer asks in this way - "How do the praises stand firm in them? How are
they set in the praises? How did the gayatrl permeat the triple (stoma)? how
is tristubh adapted to that of fifteen? How Jagati to that of thirty three? how
is anustubh that of twenty one?27 And the answer is - Eight are bom the beings
first bom of righteousness; eight, O' Indra, are the priests (rtvij) who are of the
gods; Aditi has eight wombs (yoni), eight sons; the oblation (havyam) goes
unto the eight night.28

27. W.D.Whitney, The Atharva - veda - Samhita, p, 510

28. Ibid.

[30]
 In the first mantra, which has been asked by the seer - vastau virajah
saliladudaitam tau tva prcchami katarena dugdha, the answer is given in the
twentyfourth verse of this hymn in this way-

kevalindraya duduhe hi grstirvaSam piyusam prathamam duhana/

athatarpayaccaturaicaturdha devan manusyan asurdnuta rsln//
(AV VIII. 9.24)

First of all she is milked for Indra (Jlva), then she gratified in four ways
the four - gods, men, asuras and seers. Similarly the last two mantras (25 and
26 verses) are very mysterious in their nature in this way

ko nu gauh ka ekarsih kimu dhama ka dSisah/

yaksam prthivyamekavrdekartuh katamo nu sah//
eko gaureka ekarsirekam dhamaikadha$isah /
yaksam prthivyamekavrdekartumati ricyate//
(AV VIII 9.25,26)

What about the seer asks who is the ox (go), who the sole seer etc, hence
the answer is given respectively that one is the ox (go), one the sole seer, one
the abode and the monster is single on the earth.

Thus this hymn has presented the magnificient nature of virat which is
delineated through the questions that imbibe the answers, otherwise known as
catechismal style.

1.2.2 Virat : as in the hymn (VIII.10) of the AV

The tenth hymn of eighth kanda of the AV is a curious piece of prose

which is also found in the Paipp. S. XVI. This hymn consists with six
paryayas of thirty three verses. In this hymn the significance of virat and all
the cosmological speculations have been delineated, virat is described to be the
first being and is represented as a desire -yielding cow and different gods
personified as calves of this viraj and they milked from her.
[31]
 In this hymn it is described that virat is the very principle of all in the
universe and is the ruler of all. She was formerly all this universe (virad va
idamagra aslt). Everyone was afraid of her when she was bom, (thinking) this
one indeed will become this universe. She occupied all regions. She ascended
to all the sacrificial fires like garhapatya, grhamedhin, daksinlya.29 She ascended
in the assembly, gathering, in the whole atmosphere.30 Thus she occupied all
regions. The gods and men called to her - urja ehi svadha ehi sunrta
ehlravatyehiti / (AV VIII. 10. 11) They called to her in various names like urja
(refreshment), svadha (the protector of the wealth), sunrta (truthfulness), Iravatt
(annavati) etc. Of her, Indra was the young (vatsa), gayatrl the halter, cloud
the udder and brhat, rathantara, yajnayajmya and vamadeva were four teats
(VIII.10.12,13) of that virat which is symbolically represented as a cow-
yielding desires. The gods milked herbs by the rathantara and expansion by
brhati, waters by vamadeva and sacrifice from the yajnayajmya. The living
beings milked from her to live. She ascended and came to the forest trees, the
forest trees slew her, she in a year came into being; therefore what is cut of
the forest tree grows over in a year. She ascended; she came to the fathers; the
fathers slew her; she in a month came into being; therefore to the fathers they
give in a month and monthly (oblation). She ascended came to the gods; the
gods slew her; she in a half month came into being; therefore for the gods they
make vasat in a half month; she ascended; she came to men; men slew her;
she at once came into being; therefore on both days they present to men.31

She ascended; she came to the Asuras and the Asuras called to her "maya
ehlti", O' illusion maya come. Prahlad's son Virocana was the young, the metal
vessel was vessel and Dvimurdha the son of Rtu milked illusion from her.
They live with the illusion. She ascended came to the fathers. The fathers called
to her O' svadha, come ! of her king yama was young, the silver vessel was
29. AV VIII. 10.2,3
30. AV VIII. 10.4-6
31. AVVIII.10.18 -21
[32]
vessel, Antaka the son of Mrtyu, milked from her svadha. She came to men
and men called her Iravatl (rich in cheer) come ! Manu son of Vivasvan was
young, earth was vessel, her Prthvu son Vena milked from her cultivation (krsi)
and grain. The seven seers called to her as Brahmanvatl and Brhaspati son of
Aiiglrasa milked from her both Brahman and penance. The gods called to her
as urja (balavati) and they milked refreshment from her. The Gandharvas and
Apsarases called her Punyagandha and they milked sweet fragrance on which
they subsist. She ascended to the other folks, they called her concealment
(tirodha) and they milked concealment from her. She came to the serpents and
the serpents called to her poisonous (visavati) and they milked poison to her.

Thus, in this entire hymn, the significance and the cosmological speculations
have been depicted as viraj i.e. the very principle of all in the universe without
which they cannot live. Prajapati creates the creatures and viraj maintains them.

I .2.3 Virat, personified as maya

Although Brahman is the creator of the entire Universe, it creates this

universe accompanied with maya. In this hymn (Vffl.9), maya is being narrated
as viraj. According to Muir, viraj may refer to the female counterpart of perfect
Being as Aditi of Daksa. In the Bd. Up. viraj is called the wife of Purusa. In
the AV viraj is also described as the newly-wed woman of Purusa. This is
narrated in this way -

iyameva sa yd prathamd vyochhadasvitarasu carati pravista/

mahdnto asyam mahimd.no antarbadhurjigaya navagajjanitri//
(AV VIII.9.11)

This same is she that first shone forth; among these other ones (f)she goes
about having entered; great mightiness (are) within her; the woman, the new-
going generatrix, hath conquered.32 This viraj is also called as svaraj,33 because
32. W.D. Whiteny, The Atharva Veda Samhita p.508
33. AVVIIL9.9
[33]
she is enlightened by 'Sva' or Brahman. Vrhati, and Usd are also known as
maya (virdj).

brhatah pari samani sasthat pancadhi nirmiial

brhad brahatya nirmitam kuto'dhi brhati mitall
brhati pari matraya maturmatradhi nirmita /
maya ha yajne mayaya mayaya matali pari//(AV VHI.9.4,5)

The pro-creation of Vrhati and Brahman is known as Vrhat. The existence

of Atma or intellect which is being covered by the material world or physical
body by virdj is called the illusion power of the gods(asura maya). This is the
deliberaion power of Brahman which is described in AV, in this following verse
vitivam mrtiantimabhirupam virajam pa&yanti tve na tve paiyantyenam ll(AV
Vm.9.24)

Thus in AV VIII.9. maya is identified with virdj. which is the very

principle of all in the universe. She occupied all regions. First of all, she is
milked for Indra, thereafter she is milked for the gods, men, rsi and all other
living, beings.

kevalindraya duduhe hi grstirvaSam piyusam prathamam duhana/

athatarpayaccaturafi caturdha devan manusyan asuranuta rsin//

(AV VIII.9.24)

1.2.4 Virat as a deity as well as the metre

In the AV it is of frequent occurence, and sometimes is an epithet, and

sometimes denotes the metre of that name. Thus in IX.2.5 it is said,. "That
daughter of thine, O' kdma, is called the cow, she whom sages denominate Vdk
Virdj. In the RV IX.96.18 and X. 130.5. Virdj occurs as feminine and as the
name of a metre. It is also found in X. 159.3 and X. 166.1 as well as in 1.188.5,
Where it is an adjective. In the AV VIII.9.3 virdj is also personified as vdk or
speech whom the priests know by penance. Again in VIII.9.2 it is said that by
[34]
resounding (krand) with greatness, lay down a three fold lair. In XIII.3.11
(dhruveyam virannamo) viraj obviously has reference to the metre of that
name.

Certain attributes have beeen accorded on viraj as follows. Viraj is

symbolically represented as a desire - yielding cow. In VIII.9.1,2 it is said:

vatsau virajah salllad udaitam/

vatsah kamadugho virajah /

The two calves of viraj rose out of the water. Two calves represent Uvara
and Jlva which are abode of Brahman. And in the next mantra (VIII.9.2.)...
the desire bestowing calf of viraj, who made his bodies secret (guha) in the
distance. The calf of viraj is mentioned again in XIII. 1.33 in this way -

vatsau virajo vrsabho matinama ruroha Sukraprstho 'ntarlksam /

ghrtendrkamabhyarcantl va,tsam brahmasantam brahmana vardhayanti//

He is the father of Brahman - virdjamahuh brahmanah pitaram (VHI.9.7.)

It is strongly said that viraj, though spoken of in the feminine gender, is the
'father of Brahman', whether that means the deity or devotion. "They say that
viraj is the father of devotion. His abode is in the highest heaven - sa virad
rsayah parame vyoman. (AV VIII.9.8). When she advances, sacrifices follow,
and stand still when she stands. He whose will and energy the living being
moves. Without breath, she moves by the breath of breathing females. Viraj
follows after svaraj. This mysterious idea is also comprehended in the famous
Nasadiya hymn in this way- There was no death, hence was there nothing
immortal. There was no light (distinction) between night and day. That one
breathed by itself without breath, other than it there was been nothing.34

In VIII. 10.1 it is said of her; virad va idarn agra dsit tasya jatayah
sarvamabibhediyamevedam bhavisyatiti /
34.7?VX.129.2
[35]
 sodakramat sa garhapatye nyakramat/

grhamedhl grhapatirbhavati yah evarn veda//(AV VIII. 10.2,3)

Viraj was formerly all this (universe). Everything was afraid of her when
she was bom, lest she herself should become this. She ascended. She entered
the Garhapatya fire. He who knows this becomes master of a house. And in
IX. 10.24, it is said :

virad vag virat prthivl virad antarlksam virat prajapatih/

viranmrtyuh sadhyanamadhirajo babhuvatasyabhutam bhavyam va§e//

Viraj is vak, is the earth and the air, is prajapati, is death, the ruler of the
Sadhyas, etc. In Sat. Br. XIII.2,5,3 :

prajapatir virajam asrjat sa'smat srsta parach yait /

sativam medhyam pravUat//

Prajapati created Viraj. She being produced from him went away and
entered into the sacrificial horse". In reading these passages one should bear
in mind that the great power attributed by the vedic writers to hymns and
metres. In the AV EX. 10.24, it is said that Prajapati is Viraj (the shining deity.
In AV. XI.5.16. the acarya is a Brahmacarin; the Brahmacarin is prajapati.
Prajapati shines (vi-rdjati). He became the resplendent, powerful Indra. So also
in iv.11.7; XIII, 3.5; XI.5.7; and VIII.5.10, where viraj precedes or follows the
words Prajapati or Paramesthin. In XI.4.12, Viraj is identified with prana. In
the Bd. Up. Viraj is called the wife of Purusa. In RV X. 159.3 (atho te duhita
virat), and X. 166.1 (virajam gopatim gavam), the word seems to be an epithet.

L2.5 Virat, personified as Supreme Entity; the Creator and the Ruler of all
Virat, represents the cosmic form of the first bom known as Purusa or
Adi purusa. In the manomaya stage when Brahman accomplishing with maya,
he creates the subtle world and subtle body. In this stage maya devia^s from
the universal creator Brahman and creates the massive world. This stage of
[36]
Brahman is called jagrata avastha. Brahman is accomplished with maya is
called vi'rat. In this way in the AV, the word virat is used in two genders
feminine (viraj) and masculine (virat). Thus, in the AV, Virat is personified as
the Supreme-Entity. He creates this universe and viraj, which is also described
to be the First Being, maintains them.

Viraj is the Ruler of all and is represented as a desire - yielding cow

(VIII.9.1,2) viraj was the universe in the beginning (VIIL10.1). She occupied
all regions. The Asuras milked from her. The gods and men desiring to secure
food from her, milked her. The gods milked from her herbs. The fathers milked
svadha from her. Men milked agriculture and grains from her. The seven seers
milked the Brahman and penance (tapas) from her. The Gandharvas and
Apsaras milked holy fragrance from her. The serpents milked poison. The
other folks milked concealment from her. Thus the Gods, Asuras, Fathers,
Men, Gandharvas, Apsaras, other folks, and sarpas (Serpents) secured from
her the food on which they live (VIII. 10.22-29). Viraj is the very principle of
all in the universe without her they can not live (Vin.10,18,21). Thus Prajapati
creates the creatures and viraj maintains them. The Commentator on the Vdj.
S. explains this reciprocal generation of Viraj from Purusa, and again of
Purusa from viraj, by saying, in conformity with vedantic principles, that viraj
in the form of the mundane egg, sprang from Adi purusa (Primeval Purusa),
who then entered into this egg, which he animates as its vital soul or divine
principle.

According to Manu, (1-8-11) the Supreme Deity first created the waters,
in which he placed an egg, from which again he himself was bom as Brahma,
also called Narayana. This male Purusa, created by the eternal, imperceptible,
First cause, called Brahma. Brahma by his oWn thought split egg (verse 12).
After various other details regarding the creation, the writer goes on to say
(verse 32) that Brahma divided his own body into two halves, of which one

[37]
became a male (.Purusa) and the other a female, in whom he produced viraj.
This male (.Purusa) viraj again creates manu himself (verse 33). The word
male, or purusa, is applied by Manu to three beings - viz, first, to Brahma
verse (11),; second, to the male formed by Brahma from the half of his own
body (verse 32); and thirdly to viraj, whom Brahma, or his male half, produced
from the female who was made out of the other half of his body.

In the famous hymn of the AV (XIX 6.9.) and in the RV (X.90.5),

references are found of two aspects of Purusa : one as the Maha Purusa, or
Adi Purusa the supreme, the unborn, the ever existent from whom proceed the
whole cosmological process. From him is bom the purusa, the first-bom also
called as prajdpati or viraj. Hence he obtains the viraj according to text, 'From
him sprang viraj, and from viraj purusa. He is prajdpati when he engages
himself directly in the act of creation of the worlds and the beings. He is viraj
since soon after his birth he transcends the whole universe as the cosmic Being.
Another explanation of the verse is, however, to be obtained by comparing the
similar passage in RV X.72.4: "Daksa sprang from Aditi, and Aditi from
Daksa" where it may be explicable that these two deities had the same origin,
or, in conformity with a characterstic of their divine nature, may have been
produced from each other, and have derived their substance from each-other.

Thus Prajdpati is viraj when he engages himself directly in the act of

creation of the worlds and the being. In the AV IX. 10.24, Prajdpati is identified
with viraj, (the shining deity). The AV describes Bhumi (the earth) as floating
on the water. She was found out by the seers by means of their magical power
(XII. 1.8) she is possessed of fragrance, which is permeated in all creation;

yaste gandhah purusesu strlsu pumsu bhago rcih

yo aSvesu vlresu yo mrgesuta hastisu /
kanyayam varco yad bhiime tenasman api sam srja

ma nodviksata kaicana// (AV XII. 1.25)

[38]
 This justifies the definition of Prthivi as gandhavatl by the vaUesikas. The
earth sustains and maintains all creatures and helps to promote the religious and
cultural activities of men. The functions of creation and maintainance of creatures
are attributed to the Earth, who is same as prajapati and viraj.

yasydm purve bhutakrta rsayo gd udanrcuh/

sapta satrena vedhaso yajfiena tapasa saha//(AV XII. 1.39)

Thus the virat hymns in the AV (VIH.9,10) have a great significance of

their own and the hymns are mystic in nature. The hymns, however, remain
somewhat ambiguous to the present day reader. For example it is very difficult
to bring out any systematic meaning from out of the following mantra.

yo akrandayat salllam mahitvd yonim krtva tribhujam Saydnah /

vatsah kamadugho virajah sa guhacakre tanvah paracyaih//

(AV VIII.9.2)

The Supreme Reality becomes the Active Purusa, for it is said 'From the
Purusa virat was bom and from virat again Purusa" (RV X.90.5; AV XIX.6.9).

[39]
I. 3 Kama

I. 3.0 Introduction

'Kama' or 'desire' as the force behind the evolution of the universe, the
cosmic will, which becomes later defined as iccha, desire, and kriya, action,
is the creative urge. Kama is the principle of generation by whom the whole
world is created. 'Kama' is said to have been the first seed (manasoretah)
product of the divine mind, which is the primal source of all existence.

kamastadagre samavartata manaso retah prathamam yadaslt /

sa kama kamena brhata sa yoni rayosposam yajamanaya dhehi//

(AV XIX.52.1)

In this 'Kama', the wise searching in their hearts, have by contemplation

(manlsa), discovered the connection between the existent and non-existent, and
this desire came from 'the one' after it came into life through the power of creative
fervour or abstraction. So desire is another form of devotion (tapas) which forms
the real promotive force in the act of creation. Thus the world is created by the
personal self-conscious God who acts by his intelligence and will. In this regard
Tait. Br. (II.2.9.1) says: tadasadeva sanmano kurutasyamiti and in the Tait.
Ar.(VIII.6.1) it is said that - so'kamayata bahusyam prajayeyeti sa tapo’tapyata
sa tapastaptva idam sarvamasrjat yadidam kim ca. This is the universal
characteristics of kama. Kama which is later defined as desire or will, though
its meaning in general is limited, but desire in general also forms the basis of
pro-creation. It is also said that this desire is the friend of this cosmic will.36

Kama, in the RV also has been depicted as the cosmic will, the basis of
creation as it depicts in the famous Nasadlya hymn (X. 129.4). It also signifies
the will or desire to get wealth.

35. RVX. 129.4

36. tvam kama sahasasi pratisthito vibhurvibhava sakha a sakhlyate (/W XIX.52.2)
[40]
 yat kamaste juhumastanno astu vayatn syama patayo rayinam /
(RV.XA21AQ)
urva iva paprathe kamo asme tamd pma vasupate vasunam.
(RV III.30.19J

The essence and importance of kama in the life of human beings is

understood by the seer of the AV. Kama or desire in general and sexual desire
or lust in particular has been deified by the seer of the AV, realising its endless
power and spirit of creating this universe. Hence kama has been considered as
a creator, rather, one of the highest creators at par with Skambha, Purusa and
Kala. To these four highest creators of the universe, everything is said to abide.
The seer has felt the primordial power as the ultimate cause and has invoked
it as personified kama. He is eka, sat, brahman, vitivakarman and svayambhu.
The same primordial creative power Kama arises in the mind of men and
women and causes procreation through their union.

In the AV ; Kama', 'Desire' is celebrated alone in two entire hymns IX.2

and XIX. 52, which are attributed to the seer Atharva and Brahma. Kama is
personified as the god of love by the seer Bhrgu in another hymn of the AV
(IH.25). In this respect kama has semblance with the Greek God Eros and the
Latin God cupid. Besides, many stray references to the kama which are found
scatterred in the hymns of the AV.

Thus in the AV, the deity kama appears in twofold character viz. deified
creative desire and personified love. The Kama suktam (IX.2) of the AV,
consisting of twenty five mantras, attributed to the seer Atharva, is a curious
hymn, where kama or desire is celebrated as a great power superior to all the
gods. The personification of kama as a Supreme Being suggests very quickly
his power to protect those who worship him, and to destroy the enemies of
the worshipper. The Atharvan naturally brings the change upon these ordinary
divine qualities; the kama is dealt with in the same spirit as Agni, many of
whose attributes are conferred upon him.
[41]
 Besides Saunaka Samhita, this hymn is also found in Paipp.S. xvi. The
hymn (vs.l) is prescribed (in Vait. Su. 24.10) to be recited with homage to
kama, in a part of the Agnistoma ceremony; and in KauL Sii. 49.1 it (vs.l)
accompanies the release of a bull in a witchcraft ceremony. In the ritual the
entire hymn as well as single stanzas of it, is degraded into ordinary witchcraft
charms against enemies, without special significance.

1.3.1 Kama as Deified Desire

In this hymn (IX.2) kama is deified as the creative desire. In its first verse
kama is addressed as mighty bull that kills the rivals (sapatnahananam rsabham).
The daughter of kama is the cow who is called viraj vak "shining speech"
(IX.2.5). As a skilful pole man trusts forth the boat on the waters, so also the
invoker wishes to get strength for thrusting forth his rivals with the strength
of kama of Indra, king Varuna, Visnu and with the impulse of Savitr, the
impeller, with the priesthood of Agni (IX.2.6). Thus the seer says-

adhyakso vaji mama kama ugrah kmotu mahyamasapatnameva /

vtive deva mama natham bhavantu sarve deva havamd yantu ma imam//
(AV IX.2.7)

In the words of the seer - "let kama, my valiant (vajin) formidable

overseer, make for me freedom from rivals. Let all the gods be my refuge, let
all the gods come to this call of mine"37. Kama was first bom. Neither the gods
nor the fathers, nor mortals come to the level of kama. He is always superior
(jyayan) to the gods, fathers, mortals and others. The seer also prays for the
wealth (AV IX.2.11).

kdrno jajne prathamo nainam deva dpuh pitaro na martyah. /

tatastvamasi jyayan vtivaha mahdmstasmai te kama nama it kmomi //
(AV IX.2.19)

37. W.D. Whitney, The Atharvaveda-Samhita, p.522

[42]
 In most of the verses in this hymn, kama is invoked to hurl down enemies
and rivals. Evil dreams, misfortunes, childlessness, ill-health and distress of the
singer are wished to be loosened upon his enemy by kama (IX.2.3.). The gods
Indra and Agni are invoked along with kama to destroy all adversaries of the
singer (IX.2.9.17).

The kama or desire is told as the first creation,38 hence superior to all gods,
human beings and all the essential elements in the world. In Upanisads and
vedanta philosophy the divine desire has been spoken as the starting point of
all creativities.39 And this iccha is the mayMakti of the Brahman. The kama
is said to have excellent bodies which can enter everywhere, therefore, he is
omnipresent in nature. He has two forms as he is the creator and destroyer of
all things. He is as in the form of manyu (anger) and kama (love). He is called
sapatnahanamrsabham the rival-slaying and bull full-filler of all desires.
Therefore the seer prays to kama:

yaste Mvastanvah kama bhadra yabhih satyam bhavati yad vrnlse /

tabhistvamasman abhisamvitiasvanyatra paplrapa vetiaya dhiyah.//
(AV 1X.2.25)
1.3.2 Kama as invoked along with Indra and Agni

In this hymn of the AV (IX.2.9,17) the gods Indra and Agni are invoked
along with kama to destroy all adversaries of the singers: Thus the seer prays:

indragnl kama saratham hi bhutva nlcaih sapatnan mama padayathah./

tesam patnanamadhama tamamsyagne vastunyanunirdaha tvam//
(AV IX.2.9)
"Indra, Agni and kama mounted on the same chariot, hurl ye down my
foes; when they have fallen into the nethermost darkness, do thou, Agni, bum
up their dwellings".40
38. AV XIX. 52.1
39. Tait. AR (VIII.6.1)
40. J. Muir, OST, p. 405
[43]
Again it says :
yena deva asuran pranudanta yenendro dasyunadhamam tamo ninaya /
tena tvarn kama mama ye sapatnastanasmallokat pra nudasya duram//
(AV IX.2.17)
Do thou, kama drive my enemies far from this world by that (same weapon,
or amulet where with the gods repelled the Asuras and Indra hurled the Dasyus
into the nethermost darkness"41. In the first verse of the hymn kama is called
rsabham (another name of Agni) to be worshipped with an oblation especially
appropriate to Agni.42 The seer identifies kama as Agni, So kama is propitiated
with offering of ghee and fuel etc. Such an identification is quite appropriate
since he the first bom produces fire or heat in the hearts of the lovers.

idamajyam ghrtavajjusanah kamajyestha iha madayadhvam/

kmvanto mahyamasaptnameva // (AV IX.2.8J

In the AV HI.29.7 some light has been thrown upon the process by which
kama came to be regarded as a deity, identified with Agni:

kamo data kamah pratigrahita kamah samudramavive$a /

kamena tva pratigrhnami kamaitat te
bhumistvd pratigrhndtvantarlksamidam mahat //

Kama is the giver, kama is the receiver, kama has entered into the ocean.
The allusion here made to kama entering to the ocean can be compared with
the idea of Agni's emergence from or existence in the waters.43 Kama's
identification with Agni has been made in the RV (X.27;X.51.3; X.91.6) and
in the AV (III.21.4) kama is distinctly identified with Agni. At VI.36.3 of
AV(agnih paresu dhamasu kamo bhutasya bhavyasya samardeko vi rajati)
Agni, kama the one monarch of things the past and future, shines in his dear
abodes. In AV V.I, and in V.8, kama and other gods are said to be worshipped
41. J. Muir, OST, p.405
42. sapatnahananamrsabham ghrtena kama fiiksami havisajyena,(AV IX.2.1)
43. AVI.33.1; /4VIII.21.1
with butter, an oblation especially appropriate to Agni. Again in AV V.25, the
auspicious bodies, or manifestations (tanvah) of kama are refered to just as
those of Agni. (as RV X.16.4; AV XYIII.4,10).

On the otherhand however Agni as specified separately from kama in V.6;

and in V.2.4, kama is represented as superior to Agni, as well as to vata, surya
and the candramas (the moon). In V.9, Indra and Agni are mentioned along
with kama, though the verb with which these gods are connected is in the dual,
But although in these verses Agni and Kama are distinguished from each other,
kama may be there looked upon as a superior form of the other dSfty. Thus
in this verse the superiority of Kama is described:

yavati dyavaprthivl varimna yavadapatiisyaduryavadagnih /

tata stvamasi jyayan vtivaha mahamstasmai ie kama nama it kmomi//
(AV IX.2.20)
1.3.3 Attributes accorded to kama
> Kama as the destroyer of the enemies

The personification of kama as a supreme Being suggests very quickly his

power to protect those who worship him, and to destroy the enemies of the
worshipper. Thus kama is the destroyer of the enemies. It is called
"sapatnahananam" (rival-slaying), rsabham(bull) extremely powerful and
fulfiller of all desires. In the very beginning of this hymn the seer prays kama
to destroy all his enemies who are not agreeable to his mind and sight.44 This
description continues from the verses lto 10 where kama is known as the
destroyer of the enemies. In another mantra he has been invoked alongwith
other gods for protection and destruction of the enemies. Thus the seer prays-

kamasyendrasya varunasya rdjno visnorbalena savituh savena/

agnehotrena pra nude sapatndmccamblva navamudakesu dhlrah//
(AV IX.2.6)
44. AVIX.2.1,2
[45]
 indragnl kama saratham hi bhutva nicaih sapatnan mama padayathah/
tesam patnanamadhama tamamsyagne vastunyanunirdaha tvam.//
(AVIX.2.9)

Here kama is invoked along with the strength of Indra, Varuna, Visnu and
Agni to make his rivals to fall downward. With the power of these deities the
seer tries to thrust forth his rivals like the skill-full pole-man on the rivers. Thus
some metaphors and allegories are found in this hymn.

> 'Kama' as the full - filler and inspirer of all desires

Some other aspects also associated with the deity kama. He is invoked like
other gods to shower wealth, kine, progeny and happiness upon his worshippers.
He is also prayed for glory and prosperity. Thus the seer prays -

avadhlt kamo mama ye sapatna urum lokamkaranma hyamedhatum/

mahyam namantarp pradtfaticatasro mahyam sadurvirghrtama vahantu//
\AV IX.2.11)

In XIX.52.2-5, kama is invoked for full-filling the desires of the worshipper.

He, thus is also called the inspirer of all desires-

nudasva kama pra nudasva kamavarti yantu mama ye sapatnah/

tesam nuttanamadhama tamamsyagne vastuni nirdaha tvam//
(AV IX.2.4J

In the LX.2.23 of the AV kama is known as manyu which means courage,

the full-filler of all desires.
1.3.4 Kama, Personified as Supreme- Being

Kama is personified as supreme Being, as a great power superior to all

the gods, and whose power is supplicated for deliverance from enemies. From
the very beginning the seer prays to kama to protect them from enemies and
destroy them. The seer says, with oblations of butter, I worship kama, the
[46]
mighty slayer of enemies. Do thou, when lauded, beat down my foes by the
great might. Thus the seer says-
yanme manaso na priyarn na caksuso yanme babhasti nabhinandati /
tad dussvapnam prati muncami sapatne kamatn stutvodaham bhideyam//
(AV IX.2.2J

The seer worships kama, with the oblations of butter, sraddha is the
mother of kama. It is also cited in Tail Br. II. 8.8.8, "Sraddha", or faith is
said to be the mother of kama. (Sraddha kamasya mataram). The seer wants
all the evil powers should float down like a boat which has no returning
again,45 and thus he wants that, with that tripple and effectual protection of
thine, that brahma which has been extended infront of us and (armour) made
impenetrable, do thou drive away those enemies.

yat te kama Sarma trivaruthamudbhu brahma

varma vitatamanativyadhyam krtam/
tena sapatnan parivrhgdhi ye mama paryenan
pranah paiavo jlvanam vrnaktu// (AV IX.2.16)

Thus kama is personified as a great power and it is supplicated for

deliverence from enemies. He is superior to all the gods, earth, heaven, all the
living and non-living things, kama was bom at-first; him neither gods, nor
fathers, nor men, have equalled.

kamo jajhe prathamo nainam deva apuh pitaro na martyah/

tatastvamasi jyayan viSvaha mahanstasmai te kama nama it krnomi//
(AV IX.2.19.)
He is as great as are the heavens and earth in extent, as far as the waters
have swept, as far as fire; even the wind, the fire, the sun and the moon are
not equal to kama.

na vai vataScana kamamapnoti nagnih suryo nota candramah/

tatastvamasi jyayan viSvaha mahamstasmai te kama nama it krnomi//
(AV IX.2.24)
45, AVIX.2.12
[47]
 Thus he is superior to all of them. Kama is considered as the cosmic being
beyond the creation of whole universe. At the very beginning prajapati was
alone and He desired to be many; so he created. This desire is considered by
the Atharvanie thinkers to be the basis of creation. The seer says kama was
there in the begenning. He was the first product of mind. 46 In the RV
X.129.447 it has been said that desire is the first movement that arose in the
mind. He thus stands for the primeval cosmic force not different Eka, Sat,
Brahman, Prajapati, VUvakarman, Svyambhu etc. 48 In the verse (IX.2.23)
kama is named an manyu. Manyu or samkalpa is the main cause of the
creation. It is narrated very nicely in these mantras-

yanmanyurjayamavahat samkalpasya grhadadhi /

ka asam janyah ke varah ka u jyestha varo'bhavat//
tapaScaivastam karma cantarmahatyarnave /
ta asamjanydstevarabrahmajyesthavaro,bhavat//(AV XI.8.1,2)

In these two mantras the very essence of the theory of creation has been
described as, Manyu wants to create the whole universe. Thus he desired and
accepted Jaya to procreate the whole universe. Because the whole universe is
unimanifested by the relationship among the male and female. Thus he created
the whole with the desire. Thus desire {kama is the first cause of whole
creation. In the AV it is also stated that kama or desire is the seed of the mind
manasoretah. Supreme kama creates, because he is covered in the tripple
armour of the Brahman.49 Here Brahma indicates veda.

tvam kama sahasasi pratisthito bibhurvibhava sakha a sakhlyate /

tvamugra prtanasu sasahih saha oja yajamanaya dhehi//
(AV XIX.52.2)

46. AVXIX.52.1
47. kamastadagre samavartatadhi manaso retail prathani yadaslt - (RV X.129.4)
48. M. Bloomfield, Hymns of the Atharvaveda, SBJS.Vol. XLII, p.592
49. AVIX.2.16

[48]
 He becomes thus superior to all creatures, fire, the sun the moon and the
wind.
yavail bhrhga jatvah kururavo yavatlrvargha vrksasarpyau babhiibuh/
tatastvamasi jyayan viSvaha mahamstasmai te kama nama it kmomi//
(AV IX.2.22)
He enters in the creatures with his auspicious and gracious forms and thus
becomes real.
yaste Sivastanvah kama bhadra yabhih satyam bhavati yad vrnlse/
tabhistvamasman ahhisamviSasvanyatra paplrapa veSaya dhiyah //
(AV IX.2.25)

Desire is yet another form of devotion (tapas) which forms the real
promotive force in the act of creation. Desire is more than mere thought. It
denotes intellect stirr and active effort. It is the essential feature of the purusa.
This forms into vlrya or energy which is the first primordeal germ floating
in the form of cosmic egg in the primeval waters of chaos. This is the principle
of life, the energising impulse, the innate spiritual fervour of the absolute.

In the philosophical hymns of the Atharvan and in the disquisitions of the

Upanisads, this kama, the creative desire takes a place among the very numerous
primeval cosmic forces and appears as one form of the tentative monotheistic
personification of primeval force, it then does not differ materially from "the
one" (ekam), the being (sat) and the more vigorously personified Brahma,
Prajapati, ViSvakarman Svayambhu etc. Justifiably, Kama is behind all sorts of
creation and this desire is the mayaSakti of the Brahman. The kama is said to
have excellent bodies which can enter everywhere, therefore he is omnipresent
in nature. All desires come to the beings on account of the inherence of kama.
This notion has been attested by the Upanisadic theory of creation where the
Supreme Entity first desired to create -
so' kamayata eko'ham bahusyam prajayeya/ (TaitAr. VIII.6)

[49]
1.4 Kena Suktam / BrahmaprakCdanam
1.4.0 Introduction
The Kena Suktam of AV(X.2) consisting of thirtythree mantras is a
curious revelation of the seer Narayana on the mystery of the wonderful
structure of man. According to Vait. Su. 37.19, this hymn is employed along
with other Purusa suktas(AV XIX.6) in the Purusamedha or human sacrifice.

The hymn is also known as Parsni Suktam . The hymn is on the subject
of purusa, which does not throw much light on the conception of his character,
but contains a number of curious ideas. The great archetype and impersonation
of that active energy of which men are the feeble representatives upon earth
is depicted here. The seer has been led to imagine the object of his adoration
as invested with a visible form, and with members analogous to those of the
human frame. He then goes on to speculate on the agency by which the
different portions are formed. Again the queries about how he could have
derived the various attributes through which he formed the universe, and
ordained the conditions under which it's several departments exist.

Thus the magnificence and mystery of the structure of the human body
as well as some environmental agents closely associated with man are depicted
in this hymn in a catechismal style. But the chief importance of the hymn lies
in the fact that the hymn vividly mentions the limbs of the human body along
with some of their major functions and also the mystery behind the wonderful
structure of the human body which is the castle of Brahman. The minute
questions regarding the members of purusa with which the hymn opens may
have been suggested to the author by an observation of the curious structure
of the human body. The seer is bewithced by the wonderful creation of the
external and internal structure of the human body. Hence the seer enumerates
all the limbs of man one after another and asks who has made them.50 Thus

50. AVX^.l-S

[50]
it continues through eight verses. Then in subsequent nine verses questions are
put about everything that belongs to human organism and to human life in
general.51 It is further questioned as to where man gets mastery over nature
and all these questions are answered away simply by saying that man as
Brahman (world-soul) has become that what he is, and attained his power.
This hymn also gives an idea about the science of anatomy in India is as
ancient as the AV.

I. 4.1 The queries

Usually in the vedic samhitas the philosophical ideas are expressed in a

questioning method. In a very mystic manner the seer puts certain questions
before us about the wonderful structure of the human body. Human nature
feelings, thoughts, emotions etc. have been depicted in this hymn mystically.
Through these queries the nature of the Brahman can be well-imagined. From
the beginning of the hymn the seer enumerates all the limbs of man one after
another and asks who has made them. By whom are man’s heels made ? By
whom flesh, by whom the ankles, by whom the well shaped fingers ? By
whom the holes? Why have they made the ankels of the feet below and why
the knee-caps above ? Why did they put down the knees apart from each other
and where are the joints of the knees? Who has planned all that ?52 etc. Thus
it continues through eight verses about the wonderful structure of human body
with all its parts wellorganised , The vivid enumeration of the parts of the
human body shows the knowledge about anatomy in the AV.

Then follow nine verses in which questions are put about everything that
belongs to human organism and to human life in general, “Where from do
likes and dislikes come, wherefrom sleep, fear, lethargy, wherefrom all joys
and delights of man ? Wherefrom trouble and misery ?” etc.53 In the same tone

51. AVX.2.9
52. AVX.2.1- 8
53. AVX.2-9,10
[51]
the following questions are also put helter-skelter: who has placed water in the
body and blood in the veins, wherefrom has man obtained form, stature and
name, who has lent him gait, intelligence, breath, truth and untruth, immortality
and death, clothing, long life, strength and swiftness etc. ? It is further questioned
as to wherefrom man gets mastery over nature and all these questions are
answered away simply by saying that man as Brahman (world-soul) has
become that what he is, and has attained his power.

brahma devan anu ksiyati brahma daivajanlrvisah /

brahmedamanyanksatram brahma sat ksatramucyate //
(AV X.2.23)

1.4.2 Mysticism of Anatomy associated with this hymn

This hymn gives an idea that the science of anatomy was quite well-
known to the AV and the minute study of the wonder of human body leads
the seer to sublime visualisation of the power and mystery behind its creation.
The scientific background of the present day structure of the human body is
referred to the mechanism of evolution by the great scientists like Lamark
(1744 -1824), Darwin (1809-1822)etc. But the seer is bewitched by the
wonderful creation of the external and internal structure of the human body and
searches for the cause of the wonderful structure of the human body somewhere
else and ascribes the glory to the Brahman or the supreme entity as the human
body is the castle of Brahman. The skeletal system, the functioning of the
brain, the nervous system, the vital wind in the body, the spermatology and
such other aspects of anatomy as well as the environmental encircling of the
human being are perfectly referred to in this hymn. Thus the science of
anatomy is well reflected in this hymn (AV X.2) and the seer discovers the
mystery behind this.

[52]
> The skeletal system

The external structure of the human body is scientifically divided into four
major parts as 1.Head,2. Neck, 3.Body proper or Trunk and fore limbs and
hind limbs. The same idea is reflected in the following mantra with a slight
variation as:-

catustayam yujyate samhitantam janubhyamurdhvam tiithiram kabandham /

Sronl yaduru ka u tajjajana yabhyam kusindham sudrdham babhuva//
(AV X.2.3)

A fourfold frame is fixed with ends connected and up above the knees
a yielding belly. The hips and thighs, who was their generator, those props
where by the trunk grew firmly established ?54 From the beginning of the hymn
the seer enumerates all the limbs of man one after another and asks who has
made them? This continues through eight verses. The seer starts the description
of the human structure from the lowest part of the body as:

kena parsnl dbhrte purusasya kena mamsarn sambhrtam kena gulphau/

kenahgullh pesanlh kena nakhani kenocchrlnkhalau
madhyatah kah pratistham // (AV X.2.1)

Who framed the heels of Purusa ? who fashioned the flesh of him ? who
framed and fixed his ankles ? who made the openings and well moulded
fingers ? who gave him foot soles and a central station.55 In this way the
ankles(gulphau), the knee-bones above \h&m(asthivantau), then the construction
of the legs, formation and planning of the articulation of knees, the chest, the
neck, the breasts, the elbows, the ribs and the shoulders particularly refer to the
skeletal system of the anatomy and they are very clearly mentioned as follows:-

kasmannugulphavadharavakrnvannasthlvantavuttarau purusasya /
jafighe nirrtya nyadadhuh kva svijjanunoh samdhi ka u tacciketa//
(AV X.2.2)
54. R.T. H. Grifith, The Atharva - Veda, Vol. II, p.6
55. R.T. H. Grifith, The Atharva - Veda, Vol. II, p.6

[53]
 kati devah. katame ta asan ya uro grlvaScikyuh purusasya/
kati stanau vyadadhuh kah kaphodau kati skandhan kati prstiracinvan//
(AV X.2.4J

At the end comes the description of the head . The head is described as
having seven openings as two ears, two nostrils, two eyes and mouth. The
tongue robed in the waters is set within the jaws which reaches far and there
on the speech the might Goddess is placed. The internal structure of human
body consists of the central nervous system. The functioning of the Brain the
arteries and the veins, the vital air of the human body, spermatogenesis are
referred to in these hymns.

> The Central Nervous System

The Central Nervous System of the human body consists of the brain and
spinal chord. The basic structure of the brain consists of fore-brain, mid-brain
and hind-brain.All these are referred to in the following mantra as :

mastiskamasya yatamo lalatam kakatikam prathamo yah. kapalam/

citva cityam hanvoh purusasya divam ruroha katamah sa devah//
(AV X.2.8J
> The functioning of the brain

Various aspects of human feelings which are the effects of the power of
brain are well depicted in two mantras and the seer asks who is the cause behind
these aspects . A close observation reveals that these aspects of the human beings
are nothing but the various functions of the brain. The mantras run as :

priyapriyani bahula svapnam sambadhatandryah /

anandanugro nandamSca kasmad vahati purusah//
artiravartimirrtih kuto nu puruse matih/
radhih samrddhirvyurdhadhlrmatiruditayah kutah //
(AV X.2.9,10)
[54]
 The brain the most vital organ is the citadel of Brahman and zoologically
the brain-box or the cranium encloses the brain. The same brain -box is referred
to in the mantra as a divine cell encloses properly in the AV and that is
protected by the vital air, food and the mind. This idea is beautifully represented

tad va atharvanah tiro devakosah samujjhitah /

tat prano abhi raksati tiro annamatho manah//

(AV X.2.27)

> The Arteries and the veins

The human body contains fluids turned in all directions, moving diverse.
The fluids are hasty, red, copper hued and purple and run always within man’s
body upward and downward.

ko asminnapo vyadadhad visuvrtah puruvrtah sindhusrtyaya jatah /

tlvrd arund lohinlstamradhumra ttrdhva avaclh, puruse tiraSclh //

(AVX.2.U)

> The Vital Air of the Human body

The wind circulation in the body at different places is named differently

in this hymn corresponding to five types of winds in the human body. These
winds help in the respiratory and the digestive process.

ko asmin prdnamavayat ko apanam vyanamu/

samanamasmin ko devo'dhi tisrdya puruse//
(AV X.2.13)

Another important internal aspect of the human body is spermatogenesis

which is the process of the formation of male garnets. This aspect of the
human body referred to in a mantra is: ko'smin reto nyadadhat tanturd
tayatdmiti / (AV X.2.17J. It means who set the seed in hymn and said steel
be the tread of life spun out.

[55]
 Beyond anatomy, some external concepts, such as the vision, the intellect,
the voice, the gestic power, the fleetness of the feet everything found mention
in relation to man in this hymn. In this hymn we find the vivid reference to
environmental biology of man though modem ecological thoughts. Man depends
on non-living environment (air, water, temperature, earth, atmosphere, the vast
expanse of the heaven etc.) for his sustenance and continuation of life. This
idea comes in these following mantras where the water, the shining day, the
earth, the heaven, the mid region; all are referred to in relation to man and all
these aspects are the divine creation. Thus the seer says.

kenapo anvatanuta kenaharakarod ruce/

usasam kenanvaindha kena sayambhavam dade//

(AV X.2.16)

kenemam bhumimaurnot kena paryabhavad divam /

kenabhi manha parvatan kena karmani purusah//

(AV X.2.18)

The poet philosopher of the veda goes far beyond to visualise the real
power behind this wonderful creation, where as the science only desects the
present structure and said that present stmcture of the human body is the result
of evolution by Darwin and Neo darwin scientists. But the poet philosopher
of veda have visualised the tmth behind the anatomy of human body and thus
the seer says ;

murdhanamasya samtivyatharva hrdayam ca yat/

mastiskadurdhvah prairayat pavamano’dhi tirsatah//

tadva atharvanah tiro devakosah samujjhitah /

tat prano abhi raksati tiro annamatho manah //

(AV X.2.26,27)

[56]
I. 4.3 Metaphysical assumptions associated with this hymn

In the AV, the Brahman is presumed to possess some miraculous powers.

The Atharvanic seers, believing in the magical powers of man and his capacity
to dominate the highest powers of nature, consider that the man is the special
creation of the Brahman. The Brahman fashioned the hair, bones, limbs, joints,
marrow and flesh of man. The Brahman put together his thighs, feet, knee,
joints, head, hands, face, ribs, nipple, sides, head, tongue and neck and enveloped
all these in skins.56 All organs of knowledge, mind, heart, intelligence, the
additional potency to the ears, five different organs are fashioned by the
Brahman. Then the sleep, weariness, distress, sin, old-age and boldness entered
in it.57Also the theft, ill-doing, wrong, truth, sacrifice, glory, strength, vigour
and force entered in it. Also the prosperity and adversity, generosity, faith,
sacrificial gift knowledge and ignorance, joy, enjoyment, laughter, dance and
talks etc. entered the body through Brahman . On the basis of several references
the Brahman stands for the magical act or the power arising out of that.58

Thus the Brahman grants long life, worldly happiness and continuity of
race. One gets all these things, when one realises the miraculous power behind
the universe. Purusa or the man is the stronghold of the Brahman. Thus the
magical power secured by the man is also capable of securing the power ruling
the universe.59 Brahma indicates the power of the spirit behind the creation. He
is also the creator of the earth and the atmosphere.
brahmand bhumirvihita brahma dyauruttara hita/
brahmedamurdhvam tiryak cantariksam vyaco hitam//
(AV X.2.25)

The Brahma is personified and represented as greatest hero. It is the first

to be bom in the whole creation. It performs mighty deeds as is evident from
56. AVX.2.1-8
57. AVX.2.9,10
58. /1VX.2.23
59. AVX.2,9 - 30
[57]
the following mantras:-

brahma tirotriyamapnoti brhmemam paramesthinam /

brahmemamagnim puruso brahma samvatsaram mame//
(AVX.2.21)

The word Brahman is at one place denoted by another term purusa and
He being the material and the efficient cause of the body, pervades it. This idea
has been reflected in the following mantras:-

urdhvo'nu srstastiryahnu srstah sarva ditah purusa a babhuvan/

puram yo brahmano veda yasyah purusa ucyate//
(AV X.2.28)

All being created up, it being(created crosswise the Purusa pervaded in

all directions. The body is the city or puram of Brahman for which he is
known as purusa. The elevation of Atharvan who sewed the head and heart
of man, and help the purifier, urged himself above the brain and head. The
head of man thus indeed is the head of the Atharvan, the treasures of gods
pressed down. It protects, the head, food and mind of man. The body of
man(purusa) is thus the stronghlod of Brahman, covered with immortality.

mUrdhanamasya samslvyatharva hrdayam ca yat/

mastiskadurdhvah prairayat pavamano'dhi Slrsatah //
(AV X.2.26)

Atharvan is the creator, prajapati, who perfected the human body, the abode
of the immortal Brahman, Atharvan is the helpmate of the Brahman, which
resides in the shining, yellow, golden unconquered stronghold, the human body.
The idea of gunas is also traceble as is evident from the mantra given below
tasmin hiranyaye kose tryare tripratisthite /
tasmin yad yaksamatmanvat tad vai brahmavido viduh//
(AV X.2.32)
Those acquainted with Brahma (divine science, or the deity) know that
living being which resides in this golden receptacle with three spokes and triple
[58]
supports.60 The hymn thus enunciates the principle that the microcosom. and
macrocosom emerge out of the same Supreme Reality i.e. Brahman

astacakra navadvara devanam purayodhya/

tasyam hiranyayah koSah svargo jyotisavrtah//
(AV X.2.31)

Eight wheeled nine doored is the impregnable stronghold of the gods; in

that is a golden vessel, heaven, going(svarga) covered with light.61 The individual
soul exists in the human body. It is called purusa in the sense of puri-Saya
or that which dwells in the citadel of the heart. This human body consisting
skin, blood and six other elements(gall, muscle, fat, bone, bone-marrow and
sperm) is eight wheeled and this body has been called the city of nine-
gates{navadvara), i.e two ears, two eyes, two nostrils, a mouth -these seven
located in the upper part of the body while the genital organ and the annus
located in the lower part of the trunk, these nine openings have been called
the nine gates. And this body is the impregnable stronghold of the gods
(<devanam purayodhya).

The individual self is enceased in five sheaths. The body and the sense
organs constitute its bodily sheath which is sustained by food is called annamaya
ko&a. The subtle body consists of five breaths, mind and intellect, is called
pranamaya fo?£a(Sheath of life breath) because of the perdominance of life
breath. Within the vital sheath there is the mental sheath which depends on the
mind (manas)lt is called manomaya ko$a because of the predominance of
mind. Within the mental sheath there is the intellectual sheath which depends
on the intellect and it's functions, it is called vijnanamaya ko&a, because of the
predominance of intellect within the intellectual sheath there is the blissful
sheath, is called anandamaya koia. Subject-objectless consciousness and bliss
constitute the blissful sheath. The self with its trascendental consciousness and
60. J. Muir, OST.,Vol.V, p.77
61. W.D. Whitney, The Atharva - Veda - Samhita, p.571
[59]
bliss or freedom is the Atman or Brahman . The infinite self or Brahman
within the individual self is to be realised. These five types of sheaths which
are narrated in this hymn very nicely as follows:

tadva atharvanah Siro devakosah samujjhitah/

tat prdno abhiraksati Siro annamatho manah//
(AV X.2.27)
“Verilly that head of Atharvan is a god -vessel, pressed together, breath
defends that, the head, food also mind", in this body the blissful sheath which
is called hiranyakosa,62 where Brahman or Atman resides and the infinite self
or Brahman within the individual self is to be realised and he who knows this
brahman, is died Brahmavid, Thus the seer says:-

prabhrajamanam harinlm yatiasa samparivrtam /

puram hiranyaylm brahma viveMparajitam // (AV X.233)
The human body is indeed a divine fort, impregnable with eight circles
and nine portals. This body contains a golden treasure chest which is celestial,
covered With light. Men deep in lore of Brahma know that Animated Being
which resides in the golden treasure chest that has three spokes(j£tftva, raja and
tamas) and three supports as(dyau, antariksa and prthvl). All the enquiries
about who created all these things are answered by the mystic truth that man
as Brahman(world-soul) has become that what he is and has attained his power.
The mystic swindles are to be found in the concluding verses 26-33 conveying
the integration between the components of the structure of the human body.
As remarked by Wintemitz many a deeper and truely philosophical thoughts
flash out sometimes from the mystical fog of these hymns.63 Thus Purusa
Sukta of the AV is a divine glorification of the mystery behind the anatomy
of the human body both physical and metaphysical.

62. tasmin hiranyaye koSe......... tad vai brahmavido viduh (AV X. 2.32)
63. M.Winternitz, A History of Indian Literature, Vbl.Iip.140

[60]
1.5 Skambha

I. 5.0 Introduction

A large number of hymns express the metaphysical contemplations of the

vedic seers. The skambha hymn of the AV is one of the important hymns as
far as the philosophy and religion of the vedas is concerned. Two hymns (AV
X.7,8) are dedicated to the glorification of skambha, in the tenth kanda of the
AV. The seventh hymn of the tenth kanda, which has also been named as
sarvadharmavarnanam, is attributed to the seer Atharva, consisting of fortyfour
mantras. The eighth hymn of the same kanda, is known as
jyesthabrahmavarnanam, is attributed to the seer kutsah, consisting of fortyfour
mantras.

The skambhasukta of the AV which is unique in its nature, describes

skambha as the supreme deity and the spirit behind the creation. This hymn
(X.7) is also found in Paipp. S. XVII(with slight differences of order, noted
under the verses which has been pointed out by W.D.Whitney in his translation
and notes of the Atharvaveda Samhita.This hymn has been translated by
J. Muir, V.378-384(v5.y 1- 41)), Ludwirg P.400; Scherman, p.50(vj5l-
41),Henry,22,68; Griffith, II.26.The eighth hymn is found as greater part in the
Paipp.S. XVI and the hymn is translated by Muir, V,385n., 389 parts; Ludwisg,
P.395; scherman, p.60, Henry, 27.75; Griffith II. 34 etc.

In the vedic literature skambha appears for the first time. In vedic
metaphysics the skambha stands for the Axis Mundi, which is derived from
the root skabh or stabh to prop, to support or to establish. The same root also
gives stambha (from the root stambh or stabh) in classical Sanskrit, thamba
in pali and stambha or khamb in oriya. The words skambha and stambha are
synonymous with a little phonetic dissimilarity.64 In these two hymns of the AV,
The supreme Entity is celebrated under the appellation of skambha. In these
64. Sir Monier Williams, A Sanskrit-English Dictionary

[61]
hymns skambha stands for the pillar of the cosmos which is sufficiently
magnificient to serve as the basis for a metaphysical concept.65

In the RV no complete hymn is dedicated to skambha like in the AV, but

the concept is found in many places. Many references to skambha are found
scattered in the whole of the RV. Sometimes deities like Indra, Visnu, Varuna;
Surya and Soma are associated with the idea of skambha. In some
places(Vn.86.1;VIII.4L10) it is said that varuna has, through his greatness,
separated spacious heaven and earth as under. He has also urged the high
mighty sky to motion and spread the earth. In the VIIL41.10, it is said that-

sa dhama piirvyam mame yah skambhena virodasl.......... , He {varuna)

has pillared both the worlds apart. Indra is more closely associated with
skambha, than any other deity. Even it is said that Indra was worshipped in
form of a pole /?V(I.10.1). In the i?V(VI.47.5; IX.74.2) in some contexts soma
has been called the far extended pillar which supports the heaven and who has
propped both the worlds apart . Surya or Agni(in its celestial form) is also
called as the pillar of heaven (divah skambhah). Even Visnuh propped
(askabhayat) the highest place thrice setting down his footsteps, widely
striding(/?V 1.154.1),

The AV (X.7,8) speaks of skambha, the dynamic pillar of the universe,

the support of all existence (sarvadhara). It is regarded as the supreme Brahman
(Jyesthabrahman). The Atharvavedic seer pays homage by remembering its
dynamic aspect as tasmai Jyesthaya brahmane namah.66 The theme is
metaphysical and the approach is mystic and the object of the hymn is to
enquire about the real nature of skambha. Skambha seems to be an allegorical
in its nature and it prevails all over the hymns.

The nature of skambha which has been visualised by the seer is presented
below:
65. E.A. Solomon, "Skambha Hymns of the Atharva Veda", JOIB, Vol.IX.No.3 p.233
66. AVX.8.1
[62]
1.5.1 Skambha, as a vast embodied being

Skambha here represents the personified supreme entity and upon the canvas
of skambha the entire phenomenal world is portrayed. Not only the different
phenomena but a variety of abstract concept such as austere, fervour(tapas), faith,
truth and divisions of time are comprehended as different limbs of that embodied
supreme entity.in a very mystic’s manner the seer Atharva puts certain questions
before us and himself answers all these questions. Thus the seventh hymn of this
kanda can aptly be divided into two parts: first part containing twenty two mantras
poses various questions pertaining to the defination of skambha in the context of
the description of the different phenomenon of the universe. The second part
containing another twenty two mantras described in detail the different attributes
of skambha, i.e. supreme Brahman.

From the very beginning of the hymn(X.7) the seer puts certain queries
and through these queries the magnificient nature of skambha is delineated. In
the 1st verse the seer desires to know about the places of tapas, rta, Sraddha,
satya, vrata in this way-

kasminnahge tapo asyadhi tisthati kasminnahga rtamasyadhyahitam /

kva vratm kva iraddhasya tisthati kasminnahge satyamasya pratisthitam //
(AV X.7.1)

Here the word ahga, i.e. member of part refers to the ahga of the
skambha, i.e supreme Brahman. In what member of his does austere fervour
stand ?In which the ceremonial contained ? In what parts religious observance
and faith abide ? In whatmember is truth established. In the second verse it is
asked by the seer from what member of him flames Agni ? From what member
does the moon measure out, measuring the member of great skambha!67 In
what member does the earth reside ? In which the atmosphere, in which is the

67. W.D.Whitney, The Atharva Veda-Samhita, p.592

[63]
sky placed and in which the space above the sky ? Whither tending, does the
wind blow ? Tell who is that skambha to whom the paths tend, and into whom
they enter . Whither tending, do the half months and months, in concert with
the year proceed ? Tell who is that skambha to whom the seasons and other
divisions of the year advance. Whither tending, do the two young females
of diverse aspects, the day and the night, hasten in union. Tell who is that
skambha to whom the waters tend and go?68 All these queries followed by the
seer statement in this way

yatra tapah parakramya vratam dharayatyuttaram /

rtam ca yatra sraddha capo brahma samahitah/
skambham tarn bruhi katamah svidevesahi //
• • • t

yasmin bhumirantariksam dauryasminnadhyahita /

yatragni Scandramah suryo vatastisthantyarpitah
skambham tarn bruhi katamah svidevasah //(AV X.7.11,12J

In whom austere fervour (tapas), energizing, maintains its highest

action(vrata), in whom the ceremonial, faith, the waters and divine science are
comprehended; in whom earth, atomosphere, sky, fire, moon, sun and wind
are placed.? all these moving entities have some aim of their motion.

In the eighth hymn of this kanda, Skambha personified as the Eternal which
existed even before the creation of Brahma. Therefore he is called Jyestha Brahma.
The entire universe exists in it. Even virat resides in skambha. Thus skambha is
called sarvadhara, i.e a basis for everything in other words, skambha is what
Brahman is and Brahman, the cause of creation,protection and destruction of
everything in the universe is visualised by the seer as skambha.

From above all these descriptions skambha is considered as a vast embodied

being in which all the phenomenal worlds exist.

68. J.Muir, OST, Vol.V,(3-6), p.380-381

[64]
1.5.2 Skambha and Indra

In the AV(X.7.29,30), Skambha is identified with Indra. Thus the seer

prays:-
skambhe lokah skambhe tapah skambhe' dhyrtamahitam /
skambha tva veda pratyaksamindre sarvam samahitam//
indre loka indre tapa indre' dhyrtamahitam/
indram tva veda pratyaksam skambhe sarvam pratisthitam//

In the skambha the worlds, in the skambha penance, in the skambha right
is set; thee, O' skambha, I know plainly (as) set all together in Indra.69 In Indra
the worlds, in Indra penance, in Indra right is set; thee, O' skambha, I known
plainly (as) all established in the skambha/0 The two verses are very significant
because they indicate how skambha was worshipped in the Indian tradition.
Here it is directly that skambha is Indra and Indra is skambha. Scholars at a
loss as to why skambha and Indra are identified.

In the article skambha hymn of the Atharvavedan E.A.Solomon says that

this is a queer statement that everything is contained in skambha and this
skambha is Indra,...Indra is mde closely associated with skambha than any
other deity. Many stray references have been found in a scattered manner in
the hymns of the RV, where skambha is identified with Indra. He is said to
have separated heaven and earth in their present position with an axle(X.89.4).
He has done the work of separation of the universal parents with the help of
his thunderbolt (vajra)(X. 113.5). Even it is said that Indra was worshipped in
the form of a pole(I.10.1).
The problem of identifying skambha with Indra can be solved when we
see that in ancient and even upto the present times in some areas Indra was
worshipped in the form of the Indra-pillar was not only a mere symbol of the
god, but an actual manifestation of the god himself.
69. Whitney, The Atharvaveda Samhita, p.591
70. Ibid.
71. JOIB, Voi. IX, No.3 I960, pp. 233 - 242
[65]
 The Mbh. (1.57.17.20) narrates a legend of Indramahotsava(festival of
Indra) which explains how and why skambha and Indra are identified.
According to the legend the slayer of vrtra(Indra) gave king vasu, the ruler
of the kingdom of chedi and who was considered to be the fire terrestrial king,
for his glorification a portable bamboo pole(vainavl yasti) for protecting the
honest and the peaceful. After the expiry of a year, the king planted it in the
ground for the purpose of worshipping the giver there of i.e. §akra.
From the time onwards; all kings, following vasus example, began to
plant a pole for the celebration of Indra's worship. After erecting the pole
they decorate it with golden cloth and scents amid garlands and various
ornaments.

A similar legend is found in Brhatsamhita(43.6-&) which gives the idea

that Indra received a brilliant banner from Visnu which was bom of Visnu's
effulgence. Indra, the lord of gods put the army of enemies to death in battle
with the help of the banner which was erected aloft. There after once Indra
gave a bamboo flagstaff to the king of chedi. The king worshipped that
according to the sacred laws. In order to fulfil this legal duty and to endow
himself with the auspicious sanctional potency needed for his terrestrial role,
the earthly king was expected to re-enact ritually Indra's primordial deed of
slaying the demon and erecting the cosmic pillar. In this way his people were
assured, not only of the firm upholding of moral law and justice, but also the
rain and fertility which they regarded as dependent on the maintainance of
moral order in the kingdom.72

The kingdom of this ritual Indramahotsava or Indramahas, (the festival

of Indra as said in the NatyaMstra) becomes more evident when it is undrestood
“that the Indra pole is mythically synonymous not only with the pillar separting
heavens and earth but also with the sacred standard or dhvaja which Indra
72. CfJohn Irwin, “Ashokan Pillars :A reassessesment of the evidence-IV : symbolism" : 1976
pp.744-745.
[66]
carried in to battle against the demons.73 It is another remarkable instance that
this festival of Indra is still in practice in present day society in some parts of
our country. As John Irwin has given a figure which shows the picture of
celebration of Indra festival showing Indra worshipped as a pillar, “known as
the Indra festival or Indramahotsava, and it is annually celebrated at the gates
of the royal palace.”74

This festival is one of the ancient festivals of India, which was widely
celebrated in ancient times, even in the present times it is being celebrated in
some parts of India like Bengal75 and in some parts of south India.76 It is also
one of the ancient festivals of Orissa which is still continuing in present days.
It was celebrated by a Hindu-Raja almost upto the present times and that the
festival continues to be celebrated though in a relatively changed form, in the
Jagannath temple of puri even to day.77 The Indrotsavavidhi (first manuscript
of G.C.Tripathy) which gives the description of the indradhvaja festival as it
was celebrated in Keonjhar, consists of eight main rites such as: devapuja,
homa, pithadevata pujanam, dhvajotthapanam, stuti and purnahuti.

In puri this festival is also celebrated as part of the Jagannath worship.

Lord Jagannath is regarded as the ruler of orissa. It is therefore the lord as the
ruler (king) of Orissa who carried out the festival himself to the benefit of his
state and its people. The festival which takes places outside the temple near the
main entrance(sira/mdv«ra), in the late afternoon is called
“$akradhavajayatra”Skambha or pillar worship exists in Indian tradition since
time immemorial. In tribal India wooden posts or terracota posts were
worshipped. Here are some instances of Pillar-worship in the regional tradition
of orissa. Though skambha or stambha is masculine in nature, often it represents

73. Ibid.p.745
74. Ibid.p.745
75. J.Gonda,"The Indra festival according to the Atharvaveddins" In Selected studies, Vol .IV, pp.207-223
76. G.C.Tripathy, "The Indradhvaja festival in Orissa: Remains of the Indra worship In East India", p.l
77. Ibid, p.l
[67]
a stambheSvari or khamveSvari who like mahgala, hingula etc. plays an
important role in the folk religion and local tradition of orissa.

The famous deities of orissa known as &rl Jagannath is represented

through a wooden pillar. The legends connected with Jagannath narrate that
the deity was originally worshipped in the forest by a Sahara. From that origin
it has appeared in puri temple later.78 It is also narrated that when the daru{sacred
log) arrived in puri, nobody was found to carve it. Finally the Lord himself
appeared as an old carpenter and agreed to carve it.

Thus the oriya culture which is reflected in its Regional cult of Jagannath
represents the existence of the pillar worship in the local tradition of orissa in
the case of khambeSvarl and Jagannath temple reveals its connection with
ancient tradition as found in the AV.

1.5.3 Skambha, as superior to Prajapati

Skambha is distinct from, and superior to, prajapati, who creates the
world with Him as the foundation; It is narrated in this mantra

yasminstabdhva prajapatirlokantsarvan adharayat /

skambham tarn bruhi katamah svideva sah// (AVX. 1.1)
The seer curious to know about the nature of skambha on whom prajapati
has supported and established all the worlds. He enters in all forms created.by
prajapati. The all-pervading principle of skambha is thus described in this mantra’.

yat paramamavam yacca madhyamam prajdpatih sasrje viSvarupam /

kiyatd skambhah pra viveSa tatra yanna kiyat tad babhuva//
(AVX. 7.8)
yo veda paramesthinam yaSca veda prajapatim/
jyestham ye brahmanam viduste skambhamanu samviduh//
(AVX.l.ll)

7 8. Cf.Sarala Mahabharata, Vanaparva VI. 181 -200

[68]
 He who knows the divine essmce(brahma) in purusa know paramesthin.
He who know paramesthin and he who knows prajapati - they who know
highest divine mystery (hrahmana) portion possesses a knowledge of the
/

primeval veda, may infer(anu) from such knowledge a knowledge of the

skambha or that of the primeval veda itself. This primeval veda is the “treasure”
which is kept by the gods only-

yasya trayastrim&ad deva nidhim raksanti sarvada/

nidhim tamadya ko veda yam deva abhiraksatha//

(AVX.7.23)
Whose treasure the thirty three gods continually guard, who now knows the
treasure which ye guard, O' gods.79 And in the next verse it is said that the Atharvan
priest(Brahma), who has a knowledge of those god gurdians of this veda has the
knowledge or he who has such a knowledge, is a true Atharvanic priest-

yatra deva brahmavido brahma jyesthamupasate /

yo vai tan vidyat pratyaksam sa brahma vedita syai//

(AVX.1.24)
From this then it would likewise follow that the existing three vedas are
merely portions of the primeval veda, whence they were derived, or, to adherant
to the metaphor, branches of that tree fulcrum;80 and moreover, that while
skambha is the reality, these branch vedas are not the reality, though those who
do not understand the skambha, may take them for such. Men regard the
branch of non-entity, which is prominent, as if it were paramount; and inferior
men, as many as worship thy the branch regard it as entity.81 According to Muir
the word ‘zW implies that some of the people think that the existing vedas, still
a doubt and therefore, do not idenify both the primeval and the existing vedas;
where-as, those people introduced with uto(uta-u)sae, more ignorant in assuming
79. J.Muir., COT, Vol.V,p.382
80. AVX.7.38
81. AVXI.7.21
[69]
for certain such an identity, and therefore proceed a practical worship of those
vedas.82 Again the seer explicits the nature of Brahman that the thirty three
gods are comprehended in him.

yasya trayastrim§ad deva, ahge sarve samahitah /

skambham ............... (AVX.7.13)
yatradityaSca rudratica vasava&ca samahitah//
bhutam ca yatra bhavyam ca sarve lokah pratisthitah.... //(AVX.7.22)
yasya trayastrimSad deva ahge gatrd bibhejire/

tan vai trayastrimSad devaneke brahmavido viduh//(AV X.7.27)

In whose body all the thirty-three gods are contained, In whom the
Adityas, Rudras and Vasus are contained on whom the past, the future, and
all words are supported, in whose members the thirty three gods found their
several bodies. These gods arose out of non-entity, which forms his highest
member, and, as well as entity is embraced within him.

brhanto nama te deva ye’satah parijajhire/

ekam tadahgam skambhasyasadahuh paro janah//

(AVX.l.25)
The gods who form part of him, as branches of a tree(vs 38), pay their
homage and tribute to that superior Brahman.

1.5.4 The Highest Brahman Skambha as the Supreme-Entity

Skambha is the eternal element which existed even before the creation of
Brahma. He is therefore, called jyesthabrahma. The entire universe exists in
it; even virat resides in skambha:

virajamudho yasyahuh skambham tarn bruhi katamah svideva sah/

(AVX.7.19)

82. J.Muir,057; Vol.V,p.385

[70]
 Men know Hiranyagarbha to be the supreme. But Skambha existed even
before the Hiranyagarbha. Skambha in the beginning shed forth that gold
(Hiranya, out of which, Hiranyagarbha arose), in the midst of the world:

hiranyagarbham paramamanatyudyam jana viduh /

skambhastadagre prasincaddhiranyam loke antara//
(AVX.7.28)

He is therefore called Jyesthabrahma and the Atharvanic seer pays homage

by rembering its dynamic aspect as tasmai jyesthdya brahmane namah. He is
the Knower of all; resides in the intellect of prajapati.Thus the seer says:-

yo vetasam hiranyayam tisthantam salile veda

so vai guhyah prajapatih //(AS/X.7 A\)

He who knows the golden reed (vetoa)standing in sea- he verily is in

secret prajapati.83 The word vetasa hiranyah is also found in RV IV.58.5;
which the commentator interprets as meaning the fire of lightning produced in
the aerial waters. So he is the supreme soul who knows everything and resides
in the intellect of prajapati is called skambha. He is skambha from whom the
first-born, seers, three vedas were comprehended from it.

So skambha is the world soul and the inner controller of the entire
universe. The whole world is revolved from half of the portion of skambha
and the other is unmanifested and nobody knows where this half is. As it is
said in the upanisads that Brahman has two forms, one is formed and the other
one is formless”(deva vava brahmano rupe murtam caivamurtam ca)u, with
parts and without psats(sakala and akalaf5 like this skambha has two limbs,
one is asat and the other one is sat(AV X.7.10,21). out of one limb i.e. sat
he has created earth, atmosphere and heaven by making it manifold or

83. W.D.Whitney, The Atharva Veda Samhita, p.595

84. Bd.Up.IL3.1
85. Mait. Up. VI. 15

[71]
thousandfold and the other is beyond heaven, It has been said in another verse
that with one half(of him)he produced all this universe and the other part of
it, where is that (ardhena vUvam bhuvanam jajana yadasyardham kva tad
babhuva) or what is its sign (katamah sa ketuh).86 The formed part is visible,
what is that formless part which is not revealed ? what is the sign of it ? The
answer follows later where it says :
asatcchakham pratisthantlm paramamiva jana viduh/
uto' sanmanyante’vare ye te sakhamupasate//
(AVXJ.21)

The branch of the non-existent, standing forth, people know as in a

manner the highest thing; also the lower ones who worship (upa-as) the branch
think(it) the existent thing.87 In the verse thirty six and X.8.1, however this
brahma is represented as being bom or perhaps developed from toil and tapas
and the attributes of the supreme deity are assigned to him. Thus the seer says
about the existence of skambha -

yah iramat tapaso jato lokantsarvatnsamanase /

somam yaticakre kevalam tasmai jyesthaya brahmane namah//
(AVX.736)
Reverence to that great Brahma who, born from toil and austere
fervour{tapas), pentrated all the worlds, who made soma for himself alone.
It is also stated in the another mantra of (AVX.8.15)88......... the great being
in the midst of world: to him the rulers of realms bring tribute.

skambha is personified as the supreme entity or the highest Brahman and

upon the canvass of skambha the entire phenomenal world is portrayed.
Reverence be to that atmosphere the belly, who made the sky his head.89 The
86. /JVX.90.1 ; AVX.8.7,13
87. W.D.Whitney, The Atharva - Veda - Sairihita, p.592
88. mahad yaksam bhuvanasya madhye tasmai balim rastrabhrto bharanti (AV X. 8.15)
89. AVX. 7.32

[72]
sun and the ever-renewed moon are the eyes and the Agni is his mouth.90 Wind
formed two of the vital airs, and the Angirases the eye and regions his sense
organs.91 skambha established both these(words), earth and sky, the wide
atmosphere, and the six vast regions, skambha pervaded this entire universe.92
Hence, the attributes of the supreme deity are assigned to him to this mantra-

yo bhutam ca bhavyam ca sarvam yagcadhitisthati /

svaryasya ca kevalam tasmai jyesthaya brahmans namah//

(AVX. 8.1)

Reverence to that greatest Brahma who presides over the past, the future,
the universe, and whose alone is the sky. The thirty three Gods are comprehended
in him.93 and arose out of nonentity, which forms his highest member, and
as well as entity, is embraced within him.94 The gods who form part of him,
as branches of a tree, do him homage and bring him tribute.

mahad yaksarn bhuvanasya madhye tapasi krantam salilasya prsthe/

tasminchrayante ya u ke ca deva vrksasya skandhah parita iva iakhah//
(AVX.73S)

This all permeating principle is the same that is in man. He who knows
the Brahman in man, knows the exalted one, the great Brahman. It is also stated
in another hymn of the AV (XI.8.30) that, “The waters, the gods, viraj with
Brahma(entered into man)”.Brahma entered his body; prajapati presides over
his body.95Surya occupied the eye, and vata the breath of the man. Then the
gods gave his other soul to Agni.96 Wherefore one who knows the man thinks,
this is brahma; for all the gods are in him, as cows in a cow- house.97

90. AV XI. 7.33

91. AVX. 7. 34
92. AVX.7.35
93. AVX.7.13
94. AVX.7.22,27,10,25
95. AVXI.8.30
96. AV XI.8.31
97. AVXI.8.32
[73]
 Thus the all per-vading principle of this Great-Brahman assigned to him
as the supreme-Deity.

Skambha is the creater and destroyer of the universe

In some verses it is said that Brahman is the creator, preserver and the
destroyer of the whole universe. This Great Brahman, Skambha is the creator
of the universe and has permeated like a string in all creatures:

yo vidyat sutrarn vitatam yasminnotah praja imah/

sutram sutrasya yo vidyat sa vidyad brahmanam mahat//
(AVX.8.37)

This idea is borne out in the hymns AVIX.9.10 (= RV 1.164). These are
the upanisadic doctrines or the sutra of antaryaml theory. He is the creator
of the earth, the heaven, the atmosphere the six regions and the whole existence
entered into this skambha :

skambho dadhara dyavaprthivl ubhe

imeskambho dadharorvantarisam /
skambho dadhara pradUah sadurvlh
skambham idam vitivam bhuvanamaviveSa //
(AVX.7.35)

He pervades all over the universe and all the living beings exist with him.
This universe exists in him and are absorbed in him:-

tayoraham parihrtyantyoriva na vi janami yatard parastat/

pumanenad vayatyudgrnati pumanenad vi jabharadhi nake//
(AVX. 7.43)

This Jyestha Brahman is Atman, the soul of all creatures, described as

yaksa. He who is this Brahman in man and who is that in the sun, those are
one. Thus this supreme Brahman creates this universe and exists in the human-
body as in the form of individual soul:

[74]
 pundarlkam navadvaram tribhirgunebhirdvrtam /

tasmin yad yaksamatmanvat tad vai brahmavido viduh //(AVX.&A3)

This human body is called as lotus-flower, as it contains seven major

psychic centers, which are called cakras or padmas and also this body consisting
of nine doors, covered with three strands-The supreme soul resides within tihe
human-body named as yaksa- that the brahman-knowers know. The general
characteristics of the true self which are depicted in these verses as follows-

akdmo dhiro amrtah svayambhu rasena trpto na kutaScanonah /

tameva vidvan na bibhdya mrtyoratmanam dhlramajaram yuvanam//

(AVX.SA4)

Free from desire, wisc(dhira), immortal, self existent, satisfied with sap,
not deficient in any respect knowing that wise, unaging soul, one is not affraid
of death. Though this supreme-soul is eternal and unborn, also may be at
present ever renewed; as day and night are generated in each-other’s froms:98

sanatanamenamahurutadya sydt punamavahf

ahoratre pra jayete anyo anyasya rupayoh //(AV X.8.23)

Again the existence of the supreme soul is narrated in this verse;

iyam kalyanyajard martyasyamrta grhe/

yasmai krta $aye sa yaScakara jajara sah//(AVX.8.26j

“This beautiful one(f)” is unaging, an immortal in the house of a mortal:

for whom she(was)made, he lies: he who made(her) grew old.”99 Though the
nature of the soul is unborn and eternal but it takes different forms :
tvam strl tvam pumanasi tvam kumdra uta va kumarl/
tvam jlrno dandena vancasi tvam jdto bhavasi vUvato mukhah//
(AVX.S.27)
98. BG. 11.22(vSsamsi jlrnaniyatha vihaya....... .....)
99. W.D.Whitney, The Atharva Veda-Samhita,p.599

[75]
 utaisam pitota va putra esamutaisam jyestha uta va kanisthah/
eko ha devo manasi pravistah prathamo jatah sa u garbhe antah//
(AV X.8.28J

The inner soul, cannot be able to see by others directly, one can assume
his work by his inner vision. This idea is allegorically represented in this way
by the Atharvanic seers -

urdhvam hharantamudakam kumbhenevodaharyam /

patiyanti sarve caksusa na sarve manasa viduh// (AV X.8.14J

Him bearing water aloft, as a water bearer with a vessel, all see with the
eye. not all know with the mind. As the aim of the ancient seers is the self
realisation which leads to liberation. So this is the proclamation of the seer to
realise this individual soul which is existed in the human body:

yo vai te vidyadaranl yabhyam nirmathyate vasu/

sa vidvan jyestham manyeta sa vidyad brahmanam mahat//
(AVX.8.20J
Whoever indeed knowns those two churning sticks, with which is churned
out what is good(vasw), he may think himself to know the chief thing; he may
know the great brahman. It is also depicted that he who knows the nature of
this supreme principle cross the bondage of the re-birth:

anti santam na jahatyanti santam na pafyati /

devasya patiya kavyam na rnamdra na jlryati// (AVX.8.32J

Thus in this hymn, skambha, identified as the supreme-soul which is also

existed in human body in the supreme soul form of jlvatmd and with the
realisation of this supreme principle, man acquires the spiritul knowledge which
leads to liberation, the ultimate goal of man.

The skambha suktam of the AV, which is unique in its nature, describes
skambha as the supreme deity behind the creation, skambha, the all supporting
[76]
pillar is no doubt the Axis , the centre of the world which is developed in many
traditions. It is needless to say that the idea of the world pillar has been spread
in Indian tradition both as aconcept as well as a symbol. It is the dynamic pillar
which firmly holds all the fundamental principles of the creation such as tapas,
rta,vrata, Sradha and satya. It holds the universal luminares and elements such
as sun, moon, fire (both celestial and terrestrial), and wind (vata). It gives abode
to heaven and earth {dyavaprthivi). The broad domain of space rests upon it.
It gives support to six divergent directions. A two fold nature of the world
pillar is evident in verse100 where the seer enquires about the earth, atmoshpher,
heaven and beyond that. This fourfold divisions101 of the universe is explicit
in the above mentioned verse of the skambha suktam which combines both
the cosmic and supra-cosmic regions. Here earth, atmosphere and heaven
belongs to the cosmic region and the great beyond the heaven is supra-cosmic,
such is the skambha which is both, cosmic and supra- cosmic in nature.102

However, the verse kasminnainge tisthatyuttaram divah is similar to the

verse of the purusa exceeds ten fingers of breath after pervading the earth
(bhumi).103 Here it is also depicted that skambha is identified with Indra but
distinct from and suerior to prajapati. He is the highest Brahman and the
creator and generator of the whole universe. From the very beginning he was
alone1.04 In X.7.36 of the AV, however this brahman is represented as being
bom cor, perhaps, developed from toil and tapas. He creates this universe with
his desire. 105This concept which is later developed in the vedantic period by
saying that- “sarvam khalvidam brahmaekamevadvitiyam.

100. kasminnange tisthati bhumirasya.... kasminnange tisthatyuttaram divah(AV X.7.3)

101. The i?V(IV.53.5)speaks of a tripartite division of the universe - namely heaven(dyaus)
midregion(antariksa), and the e<nrth(prthivi).
102. The Vaj. S. (VIII.16) also mentions the tree world by the same names.
103. RVX.90.T, AVXIX.6.1
104. AVX.8,21
105. AVXIX.52.1
[77]
1.6 Prana

1.6.0 Introduction

The aim of the Indian Philosophy is “atmanam viddhi”, know thy self.
Apart from this world there is an inner world which is infact existent within
the man. This inner world has been termed as the world of thoughts and
emotions, desires and cognitions, the subtle vital air presided over by the soul
etc. According to the Atharvanic seers man is the special creation of Brahman
and the different sense organs of a man are presided over by various deities.
A variety of deities of the most heterogeneous character are celebrated as the
possessor of the divine power. These deities personify an abstaret concepts. A
study of the personality of these deities has much significance.

One of such concept is prana or life breath. Prana is hailed as a life

giving principle of nature. The greatness of the life breath(prarca)has been
eulogised in the vedic samhitas, brdhmanas and the aranyakas. The upanisads
have presented a detailed analysis of the same which is frequently identified
as the Brahman and Atman. The doctrine of vital forces which figures so
much in later Indian metaphysics is first mentioned in AV and this doctrine may
possibly be a development of the principle of air of the RV(anidavatam
svadhaya tadekam)106. The first principle, That One, tad ekam is
uncharacterisable. That One breathed by itself without breath, other than it
there has been nothing . This svadha (svasmin dhiyante asmin id svadha) is
desingated by the seer as the life giving principle (prana) as the basis of all
existence. In the /?V(I.101.5) Indra is identified as prana - yo vitivasya jagatah
pranataspatih. Hiranyagarbhaiprajapati) is also called the Lord of all the
living beings- yah pranato nimisato mahitvaika idraja jagato babhuvaiRV
X.121.3). It is also said in the /?VfX.90.13) and in the AV(XIX.6.7) that
pranad vayurajayata - vayu was bom from the purusa’s or parametivara’s
106. RVX. 129.2
[78]
breath. In the vak hymn of the RV (x.125.4) and the AV(IV.30.4), the goddess
vak declares, that all the living beings breath by vak -

maya so annamatti yo vipaSyati yah praniti ya i Srnotyuktam

prana as identified with the sun in one of the verses in the RV(X. 189.2)
and its rays do the activity of the breathing and Qxpimtion(prdnana-apanana)107
Therefore the seer prays surya atma jagatastasthusatica.108 Here atma is
desingated as the life -principle. The Yajurveda also has represented a detailed
analysis of the same. In a verse of this veda it is stated that aindra-prana and
aindra udana which are existed in every part of the body. In the Yajurveda,
prayer has been offered to strengthen the life breath:

pranam te $undhami(Vaj. 5.6.14)

pranasta apydyatdm(Vaj.s.6.15)

pranam na vlryam nasi(Vaj.S.21.49)

mayi prdndpanouiVaj.S.36.1)

In the AV, prana, the breath is ascribed as the first cause of all existence.
In the AV, a whole hymn (X.4) is dedicated to prana or life breath, where
prana personified as the supreme-soul. Besides three full hymns and a mantra
is devoted to the life breath.109 In the second section of the AV, in these three
hymns(15 -17), the deity prana is prayed for the assurance, protection and
strength. In the VI. 10.1 of the AV, prana is in the form of vata or vayu, the
basis of all existence. On the vratya (vratya-kanda) of the samhita three
identical hymns(15-17) are important from the view-point of explaining, the
life-breath(prana), the vital air going down(apana) and the vital air circulating
through the body (vyana). In the entire samhita there are other references to
the life beath(prana) and the vital air going down(pranapana) which are found
107. antaScarati rocana'sya pranadapanati / vyakhyan mahiso divani(RV X.189.2)
108. RVl.l 15.1 :AVXIII.2.35
109. AVII. 15, 16, 17; AV VI. 10.1

[79]
scatterred in the hymns of the different deities or connected with other subjects,
they are helpful in the atharvavedic deliberations on the life-breath.

The concept of prana is vividly expressed in AV XI.4, which is attributed

to the seer Bhargavo-vaidarbhl, the son of Bhrgu. The theme is cosmological
and theosophic in nature. The hymn comprises of twenty-six mantras, where
in prana or life breath is personified as the supreme spirit. This hymn is also
found in Paipp. XVI. The hymn is applied in the upnayana sacrament,
ayusyagana, naksatrakalpa and tiantikalpa to ensure longevity. The last three
mantras of this hymn(24-26) are related with this purpose directly. This is
tanslated by Muir, V.395; Scheraman, p.69(nearly all); Deusen,
Geschichte,1.1.301 (with a general introduction); Henry, III, 147; Griffith, 11.64;
Bloomfield, 218,622 etc.

The object of the hymn is to emphasise the pre-dominant nature of the

prana or life breath on all over the universe and the AV has recognised the
power of life breath(prana)as the most important of all vital airs. The gods,
whole living beings depend upon pranam and the sense organs are under its
control in the body as it resides in the human body. Thus it is the proclamation
of the seer that, it is the vital air which keeps a man alive and acitve.

1.6.1 The nature of prana : as ascribed in the 4V(XI.4)

The nature and importance of the element of life breath (prana) have been
discussed in great detail in twenty six verses of this hymn (XI.4). The method
of the worship of the life breath (prana) is also mentioned here. The seer pays
his homage to prana by saying:-
pranaya namo yasya sarvamidam vaief
yo bhutah sarvasyeSvaro yasminsarvam pratisthitam //(AV XI.4.1)

Everything depends on the life breath (prana). The life breath(pramz) is

supreme. The life breath(prana) pervades through the earth, the atmosphere

110. prune sarvam pratisthitam (AV XI.4.15)

[80]
and the heaven. The life breath (prana) of the heaven covers the earths
through the sun-rays, the life breath (prana) of the atmosphere reaches the
earth through the rains and on the earth the life prevails in the form of life
breath (prana)m. All beings live upon the life-breath(prana). The same breath
changes in the body of a human being in the form of life-breath (prana) and
the vital breath going downwards apana. It is the life breath(prana) which
remains active in energy and sense organ of the body. It is the life -breath
(prana) which is the remedy of all the remedies. It is on account of the life-
breath (prana) that all the evils disappear from the body. It is the life -breath
which gives one longevity. The life-breath is all pervading. It is the father and
protector of everybody. Death, ill-ness and strength all depend on the life-
breath. All the sense-organs gather strength in association with the life-
breath(prana). The good acquire strength by controlling the life breath (pranas).
This same idea is reflected in the RV(X. 189.2) in this way-

antaScarati rocana'sya pranadapanatl/

vyakhyanmahiso divarn //

In this verse prana as identified in the form of the Sun and its rays enter
into the living beings and do the breathing and expiration activities. The
truthful attain the best of the ability at the pressure of the life -breath(prana).
It is the life-breath(prana)which inspires all the deities. The life-breath lives in
the grain,112 it adds to the strength and remains active in the womb.

antargarbhaticarati devatasvabhuto bhiitah sa u jayate punah/

sa bhuto bhavyam bhavisyat pita putram pra vivetia tiacibhih//

(AV XI.4.20)

It is an instance of the life-breath(prana) that the embryo develops in the

womb and comes out of it . It is the life-breath through which a son inherits

111. AVXI.4.2
112. AV XI. 4.13
[81]
all the qualities, actions, nature and strength of the father. It is the life-breath
which resides in the human heart. As soon as it goes out, nothing is known.
Therefore the four stages of prana have been narrated as
namaste astvayate narno astu parayate/
namaste prana tisthata aslnayato te namah//(AV XI.4.7)

The existence of prana has been briefly narrated by the seer vaidarbhl.
These four stages are-ayat, parayat, tisthat and aslna. Prana or breath which
enters into the body is known as dyat . The air which is expelled out from
the body (expiration) is known as parayat . The air remains in the body
without respiration is known as tisthat. After exhalation the air which remains
in the body is known as asina. These four stages of air are elaborated in the
pranayama as puraka{inhalation), kumbhaka(retmtion), recfl^(exhalation) and
bdhya kumbhaka(suspension of the acts of inhalation and exhalation). Again
the seer pays his homage by saying-

namaste prana pranate namo astvapanate/

paraclnaya te namah pratlclnaya te namah sarvasmai ta idam namah//

(AV XI.4.8)

prana and apana which are also known as pardcina and pratlclna.
paraclna prana enters to the body through the nostrils to the lungs and purify
the blood and supplies it into the different parts of the body and regulates the
nervous system of the human hody. praticlna prana controls and regulates the
work of the generative and excretive systems.
Acarya sayana has defined vividly about these vital breathes as Prana
is “pranate prananavyaparam kurvate” breathing; apana is apana vyaparam
kurvate i.e. known as expiration, ‘paraclna’ is parahcanaya
paragamanasvabhavdya dehad vahiravasthitdya i.e, turned away from the
body and 'praticlna ’ is pratimukham ahcate dehamadhye varttamanaya , i,e

[82]
turned towards in the body.113 Again in the nineth verse, the existence of prana
is narrated in this way-
ya te prana priydtanuryo te prana preyasl. /
atho yadbhesajam tava tasya no dhehi jlvase//(AV XI.4.9)

prana exists in the human body in three forms, first of all it is called
pranamayakotia. prana priya tanu indicates the pranamaya ko&a (sheath of
life breath) because of the predominance of life breath and as this body is
dearest to the life. Secondly prana is in the forms of prana and apana,
inhaling and exhaling, the importance of which has been accepted for life.
Thirdly it is also called the osadhi or remedy as it is the preventing elements
for the various diseases. It is like a rim or an ax<&£-which regulates the human-
body consisting of eight cakras-

astacakram vartata ekanemi sahasraksaram pra puro ni pa$ca /

ardhena vtivam bhuvanam jajana yadasyardham katamah sa ketuh//
(AV XI.4.22)
The human body consisting of eight wheels with one rim or an axlp, i.e.
prana. Here eight wheels indicates skin, blood and six other elements (gall,
muscle, fat, bone, bone-marrow and sperm). In the Kath. Up. Ill .3, it is stated
that atmanam rathinam viddhi iarlram rathameva tu, the human-body is like
a chariot and the individual soul is the cahrioteer. This cakra which is later
developed in the hatha-yoga, that human-body contains of seven major psychic
centres, five situated along the spine and two found within the head and these
centres are called cakras which are purified and sustained by this prana or life
-breath. It holds the body with its physical strength and keeps its secret relation
with the soul with its minute power. Thus it resides in the living being as well
as in the entire universe, which justifies that prana is the omnipresent life force
of all creatures.
113. Atharvaveda Sarnhita with Sayana's commentary(part-III),p.90

[83]
1.6.2 Divisions of prana or life-breath in the AV

In the human body, there are five primary vital airs known as prana,
apana, samana, udana and vyana and there are five secondary vital airs
known as naga, kurma, krkara, devadatta and dhananjaya. The functions
of ten vital airs are as follows

i) Prana - It resides in the heart. It exhales air, digests the food and so
on.
ii) Apana-It resides in anus, It inhales air, excretes waste matter and throw
out the foetus from the womb.
iii) Santana-It resides in the navel. It circulates the essence of the digested
food in all the limbs.
iv) Udana-It abides in the throat. It separates the solid and the liquid
portions of food. It separates the subtle body from the physical body
and transmigrates it to another body or to the world.
v) Vyana - It abides in whole of the body. It shrinks and expands the
body and its parts.
vi) Naga - It's function is belching.
vii) Kurma - It’s function is shutting and opening the eyes.
viii) Krkara - It’s function is sneezing.
ix) Devadatta- It’s function is yawning.
x) Dhananjaya - It abides in the body even after death and puffs out the
dead body, In fact , only one Vital air is differentiated according to its
various functions.
In the Mait. Up.QI.6) the five primary airs have been mentioned.

In the AV, varieties of the life breath (prana) i.e prana, apana,vyana and
udanam which have been mentioned . Amongst them it is the prana and
apana which have been mentioned extensively prana and apana pray for the

114. AV XI. 8.26

84]
assurance, protection and strength of the human body (11.15,16,17) in the AV.
Other two vital airs vydna(AV VI.41.2), (AV X.2.13) and uddna(AV XI.8.26)
also have been narrated in some places. In this hymn (XI.4.26) of AV, prana
and apana have been described respectively as paddy(brihi) and barley (yava).us
prana and apana are the two known motions of the prana, known as inhaling
(Svasa) and exhaling (praSvasa), the importance of which has been accepted
for life(jlvana), longevity (ay u), and potentiality (sdmarthya). The seer has
completety identified his prana, apana and vyana with his soul (atmari),
eyes(caksuh) and ears (srotra).116 A prayer has been made to a herb named as
‘kustha’ to bestow happiness on the man for the eyes, the prana, the vyana
and the caksu.111 In the vratya kanda (XV. 15.2) there are seven pranas, seven
apanas and seven vyanas. Vratya is a person, who has fallen from the
orthodox Brahmanical tradition. He is not authorised to practise vedic religious
rites. But such a person is deified and desingated as the highest deity, the source
of the brahmanas and the ksatriyas (XV. 10.3). In the fifteenth parydya hymn
of the vrdtyas(vratyakdnda) seven vital airs(sapta pranah) of the vratya have
been mentioned. Its seven forms are respectively -agni, aditya, candrama,
pavamana, apa, pa$u and praja.m It means that these seven gods reside in
the seven vital airs(pranas) of the vratya. The seven vital airs (pranas) may be
the seven vital powers residing in the seven organs (the five vital organs,
speech and manas may be induced in the seven sense organs)

In the sixteen verses of the sixteen parydya sukta of the vratyakanda, it

has been described as the seven apana's. The full moon day(paurnamasi) the
eighth day(astaka), faith(sraddha), Initiation(<M;sa) sacrifice(diksa),
sacrifice(yq/raz) and sacrificial fee(daksina)- all these seven have been described
as residing in their apdna-s. Apana is a name of the energy which removes
115. pranapanau brlhiyavau, AV XI.4.13
116. AVXIX. 5.1
117. AVV.4.7
118. AVXV. 15.1-9

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all the miseries of the human beings. In the seventeenth paryaya-sukta of the
vratya-kanda the seven vydna-s have been explained to the vratya in the form
of earth (bhumi), atmosphere^ntariLsa) celestial region (dyauh),
ip\antes(naksatra),seasons(rtu), the seasonal iproducts(rtubhava padartha), and
the year (samvatsara).

1.6.3 Life -breath(pra«a) and life (>ayuh)

A close relationship between the life breath (prana)and (ayuh) is shown

in the Samhita. The deities of the three hymns from XV to XVII of the second
kanda of the AV have been described as prana, apana and ayu. In the first
hymn (11.15) the seer desires to be fearless like dyau, prthivl, ratrl, dina, surya,
indra, brahma, ksatra, satya, anrta, bhuta and bhavya.u9 In the second hymn
there are prayers to pranapanau, dyavaprthivi, vaisvanara etc. for the safety
from death, powers of hearing, seeing etc.120 In the third hymn, there have
been expressed the desires for vigour(ojas), boldness(sakah) strength(bala).
longevity(ayw), sense organs of hearing(ca^M) and noun§Yimg(posakatd)e\c.m

Fearless life, protection from the gods and the favour of self protection
have been described as identical basis for the life bre&th(prana) and life(ayw).
In fact the longQvity(ayuh) is nothing but the existence of the vital breath in
the body for a long time. In the hymn to the ayuh prayers have been made
for the life breath (prana) and the vital air going downwards(apana) to live
happily in the body.122 Sometimes desire has been expressed for the stability
of the asu,123 prana, ayuh and manas in the body.124 Therefore holding the
vital air in the body is essential for longevity. The seers want to live with the
strength of thousand of powers which is the secret of longevity.125 It is the
119. Amis,1-6
120. AVII.16,1- 5
121. AVII.17,1- 7
122. prana apana iha te ramantam (AV VIII. 1.1)
123. asuriti prananama, astah Sartre bhavati, Niruktam III.3
124. AV VIII. 1.3
125. sahasratn pranamayya yatantdm, AWill. 2.1
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ardent desire of a seer that perfect and independent life-breath (prana) may live
in the body continously. Their intense prayer is ayuto me prana. 126 In the last
hemistich of the prana sttktam. The seer prays to prana in this way :-
prana ma mat paryavrto na madanyo bhavisyasi I
apam garbhamiva jlvase prana badhnami tvd mayi ll(AV XI.4.26)

In order to make the life breath(prana) strong it has been prayed that they
become strong and that they may be seen as friends.127

1.6.4 The life breath (prana) : form of the deity vdyu

In the AV prana is identified as the vdyu. In the famous purusa suktam

of the /?V(X.90.13) and the AV (XIX.6.7) it is stated that "pranadvayurajayata."
vdyu was bom from purusa's breath. There is an eternal relationship between
the inner life breath (prana) and external air (vdyu). So the seer says-

prdnamdhurmatari&vdnam vato ha prana ucyate /

prane ha bhutam bhavyam ca prane sarvam pratisthitam //(AV XI.4.15)

prana is known as mdtarUva. Sayanacarya defines the word matarUsva in

this way- mdtari, antarlkse ivasiti vartata iti mdtarUvd antarlksadhipatir
vayuh.m In the Ait.Ar.(TLA.2) it is said that vdyuh prano bhutva ndsike praviSat.
In the Brhadaranyaka Upanisad(I3.33) it is stated that saisanastamita devata
yad vayuh. Hence, Prana is identified with vdyu which is in the atmosphere
and then it passes on to the plants and herbs by means of the rain fall which
strengthens the life breath(prana) of the living beings.129 prana is also called
as vata or the wind. The term vata or mdtariSva is used very frequently for
him.130 In the skambha hymn the life breath (prana) and the vital air going
&ovm(apana) have been taken as air (vato)131 But, certainly it is the air
126. AVXIX.51.1
127. AVXIII.1.17
128. Atharvaveda Satnhitd with Sayaria's commentary(Part-III),p.94
129. AVXI.4,2 - 3
130. AVXI.4.5
131. yasya vatali prandpanau... (AV X.7,34)
[87]
(vata)which is the presiding deity of the life breath(prana). When the different
gods are prayed for the protection of one’s own self with their weapons or
limbs, the air (vayu) along with the life breath(pra«a) is prayed to protect
directly.132

Thus it reflects that prana is the real power of any activity done.

1.6.5 Prana as identified with parjanya

A noteworthy feature of this hymn is the predication to prana of the

qualities of a rain-god{parjanya). The four component parts of a storm are
wind, thunder, lightening and rain. The seer pays his homage to prana with
these four compoents. Thus the seer says :

namaste prana krandaya namaste stanayitnave/

namaste prana vidyute namaste prana varsate//(AV XI.4.2)

In this vese, prana is not meant for breathing and expirations, it is a

principle which exists in various natures in various forms. It exists as a roar
(krand) in the clouds, as in form of thundex(stanayitnu), as in the form of
lightning(vidyut), and as in the form of rain(varsat). Here prana is attributed
to the wind which is named as “krand”, the roarer, par- excellence. It is also
cited in the RV (X.100.2)and in the AV(XI.4.15) that they call prana mcitari&va
(the wind). As the form of parjanya, he is the creator of all living beings. With
this prana as in the form of Rain-God or parjanya the herbs are impregnated.
They receive embryos, then they are bom as many. The activities of the
heavenly -prana is narrated in the third verse of this hymn of the AV :

yatprana stanayitnunabhikrandatyosadhlh /
pra vlyante garbhan dadhate’tho bahvlrvi jayantell
(AV XI.4.3)

132. vatafy prayena raksatu (AV XIX.27.2)

[88]
 This type of description is also similar with the parjanya suktarn of the
RV(V.83.1), by the seer Atri in this way -

accha vada tavasam glrbhirrabhih stuhi parjanyam namasa vivasa/

kanikradad vrsabho jiradanu reto dadhatyosadhlsu garbham//

(RV V.83.1)

pra vata vanti patayanti vidyuta udosadhirjihate pinvate svah/

ira viSvasmai bhuvandya jdyate yatparjanyah prthivim retasavati//

yasya vrate prthivi nahnamiti yasya vrate saphavajjarbhurriti /

yasya vrata o'sadhirviSvarupah sd nah parjanya mahi Sarnia yaccha//

(RV V.83.4-5)

As a rain god prana produces all the living beings. When the season has
arrived and prana calls aloud to the plants, then everything rejoices upon the
earth:
yatprana rtavagate'bhikrandatyo'sadhih /
sarvam tada pramodate yat kirn ca bhumyamadhi //
(AV XI.4.4)

As such he quickens the life of plants and animals, as a Rain God, when
prana sprinkles the rain, all these creatures are overjoyed:

yada prano abhyavarsid varsena prthivim mahim/

paSavastat pra modante maho vai no bhavisyati//(AV XI.4.5)

prana calls aloud to the plants with thunder and they are impregnted.
They conceive, they produce abundantly when prana extends the energy to
the herbs and plants. Hence, all the creatures are overwhelmed with the sprinkling
water of the Raingod and the herbs being rained on and have talked with
breath that, O God! you have extended our lifetime and made us all fragrant.133

133.abhivrsta ausadhayah pranena samavadiran/

ayurvai nah pratltarah sarvd nah. surabhirakah // (AV XI. 4.6)
[89]
In PraSn. Up. (11.10) it is also described that when prana sprinkles the rain, all
these creatures are full of joy.

Thus as a Rain-God , Prana is the life-giving principle which have been

visualised by the seer of the AV.

1.6.6 Prana as the Supreme Entity

In this hymnCAV7 XI.4), prana personified as the Supreme Spirit . He is

the basis of all existence. Sayanacarya in his prologue says about the all-
pervading principle of prana as it permeates all the living beings. He is the
first-born and named as Hiranyagarbha,134 pranaya prakarsena aniti
sarvapranUarlram vyapya cestate iti pranah samastitiarlrabhimani
prathamasrsto Hiranyagarbhah) prana is the lord of all by whom all is
supported . Thus the seer pays his homage by saying -

pranaya namo yasya sarvamidam vatie/

yo bhutah sarvasyefvaro yasmin sarvam pratisthitam //(AV XI.4.1)

He is the basis of all existence. He is the lord of all that breathes and does
not breathe-

prano ha sarvasyeSvaro yacca pranati yaccha na//(AV XI.4.10)

Different gods are identified with prana,the superme- soul as follows :

prano mrtyuh pranastakma pranam deva updsate/

prano ha satyavadlnamuttame loka a, dadhat//(AV XI.4.11)

prana is death , prana is fever. The god worships prana . prana is the
truth speaker which is placed in the highest world, prana is equated with viraj
and prajapati, the sun and the moon. They call prajapati prana, which is
equated with the time, the past, the future. Everything is supported upon
134. AV XI. 4.1
135. AV XI. 4.16

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prana. He quickens both atharvan and ahgirasa plants.135 The plants of
Atharvan or Ahgirasa of the gods, and of men, grow when prana quickens.
He rules thus over the animal and vegetable world. He is the sun . This is the
round about way of saying that prana is identical with the Brahman and
Atman. This prana is looked upon as related to the universe in the same way
as the individual soul is related to its body. Thus prana is identified with the
individual soul and he gets this power of lordship due to the Brahman.

yo asya sarvajanmana ito sarvasya cestatah/

atandro brahmana dhlrah prano manu tisthatu //(AV XI.4.24J

It resides in the human body. By exit it causes the death to all the living
beings. Therefore prana is called death and fever. There are five types of kotos
or sheath in the human body. They are annamaya, pranamaya, manomaya,
vijhanamaya and anandamaya kosa which are briefly found in Tait. Up(ll.2.5)
Here, in this hymn the depiction of annamaya and pranamaya kotia have been
found. The gross body consists of five elements earth, water, fire, air and ether.
It is made of mother’s ovum and father’s sperm. It is also called annamaya kosa
because it is bom of evolute of food and is sustained by it. This idea is narrated
in the following verse:

apanati pranati puruso garbhe antara/

yada tvam prana jinvasyatha sa jayate punah//(AV XI.4.14)

Here prana is identified with the food. Sdyanacarya suggests that with
the dominating force of breath {prana and apana) the food becomes digested
in his body and is sustained by it and thus he is bom again, prana enters to
all living beings as the father goes to his son through his body.136 The
indication of pranamaya koto is as follows :

136. AV XI. 4.20

[91]
 yd te prana priyd tanuryo te prana preyasl/

atho yad bhesajam taba tasya no dhehi jlvase //(AV XI.4.9)

The human body is dearest to prana (priya tanuh) and it is sustained by

the predominance of life breath. Again it is narrated in verse-22 137, that the
human body consists of eight wheels with one rim or an axle i.e. pruVno..

astdcakram vartata ekanemi sahasraksaram pra puro ni patica /

ardhena vtivam bhuvanam jajana yadasyardham katamah sa ketuh//
(AV XI.4.22)

The whole world is evolved from half of the portion of the supreme soul
prana and the other half is unmanifested and nobody knows where this half
is. In this context it is also stated that one can assume the universal characteristics
of the individual soul, but can not assume the nature of the Supreme Soul. This
verse is same as in the skambha hymn of the AV(X.8.14).The life-breath is
always active in the Human body in both the states of sleep and alertness.

urdhvah suptesu jagara nanu tiryanni padyate/

na suptamasya suptesvanu Suirava kafcana //(AV XI.4.25)

Thus the seer has been realised the essence and importance of life-breath in the
human body. Therefore he always desires to abide the eternal prana within his
body. Hence the seer prays -

prana ma mat paryavrto na madanyo bhavisyasi/

apam garbhamiva jlvase prdna badhnami tva mayi //(AV XI.4.26)

O breath, turn not about from me; not another than I shall thou be; like
the embryo of the waters, in order to life(jivas), I bind thee to me, O breath.138
Here apam garbha is fire139 either fire in the body or perhaps more probably,

137. AVX.2.31;AVX. 8.7,13

138. W.D. Whitney, The Atharva - Veda - Samhita, p.635
139. Srlmad Bhagbad Gita Ch XV. 14

[92]
the fire of which the Brahman disciple takes care. Thus in this sukta, prana
is identified with the individual soul.

prana is here an appellation of the supreme entity as well as the essence

of the supreme entity within the living beings. Hence, the hymn to the life-
breath(prana suktam) is an excellent example of atharvavedic teachings about
the life-breath {prana) . These details about the life breath(prana) have been
later on developed and described in details in the Brahmanas, Aranyakas and
Upnisads.

The early genesis of the Yoga system can be traced in the AV. Yoga is the
union of internal energy with the external gods. Hence it is said that ‘The sun
is my eyes, the wind is my life and the earth is my body’.140 The astacakra
(AV XI.4.22) of the human body is later developed in the yoga dar&ana. The
analysis of the pranayama etc. based on the principles of the AV has enunciated
it generally as a principal means to increase the power of life breath(praraz) and
its hints are found here and there in the AV. 141 It is the naturopathy which is
a means for attaining longevity and health. By asserting that everything depends
upon the life breath (prane sarvam pratisthitam)142 It is the universal form
and matchlessness of the life bt*ath(prana) which have been discussed here.
From this the knowledge of the life breath(prana) appears to be the compliment
of the spiritual knowledge(adhyatma vidya).

140. suryo me caksurvatah prdno'ntariksamatma prthivi $ariram(AV V.9.7)

141. AWIII.2.4
142. AVXI. 4.15

[93]
I. 7 Brahmacarl
1.7.0 Introduction
The aim of knowledge in the ancient India was very much noble and
exalted. Mere material gain or earning one's lively-hood was not the goal of
education. It is stated that “sd vidya yd vimuktaye” which means moksa or liberation
from the bundage of mundane world and realisation of the self was the goal of
education. So one, who strives hard to gain such education becomes the repository
of great virtues. The study of vedic mantras ultimately leads to the realization of
the self or Brahman. The Atharvanic seers gave great importance to the meditation
of Brahman. One who practices Brahman is the Brahmacarl. Brahmacarl, a
student seeking brahman, a repository of such wonderful powers, resorts to a
stronghold, where the brahman yields of him both refuge and defence.143
The fifth hymn of the eleventh kanda of the AV is dedicatd to the
glorification of Brahmacarl. The hymn consisting of twenty six mantras was
revealed by the seer Brahma. The hymn is employed in Brahmayajnajapa.
Along with the Saunaka samhita, this sukta is also found in Paipp.S. (XVI)
with slight differences of order, which are pointed out by W.D. Whitney in
his translation of the AV. This sukta is also cited at the beginning of Gopatha
Brahmana. The sukta contains twenty six mantras. This is translated by J.Muir
in OST(Vol.V) by Ludwig, Scherman, Deussen Henery, Griffith in his translation
of AV and Bloomfield. Henery in his preface to Books (X-XII) quotes this
hymn while discussing of Brahman and he connects the word brahman with
the root bhaga. Deussen, the famous German scholar entitles the hymn “The
Brahman pupil as incarnation of Brahma”. He also gives a general exposition
of its subject matter by way of introduction. Whitney in his translation of the
sukta entitles the sukta as”Extollling the vedic st\idmt(Brahmacan)”. The study
of vedic mantras ultimately leads to the realization of the Brahman or the
Supreme Entity. Infact the Brahmacarl is a vedic student.
143. AV XIX. 19.8

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 The hymn ascribes very astonishing powers to the Brahmacan or the vedic
student. Some parts of this sukta are obscure and very difficult to understand.
He has capacity to bring into practice the power of the Brahman. He is thus the
Brahmacan. All the functions and powers of the Brahmacan are made the basis
of a momentary cosmogonic and philosophical account of the origin and existence
of the universe. The Brahmacan is an allegorical representation of the Brahman.
This allegory is carried out with all the feeble consistency that characterises Hindu
speculations of this sort, and the more gladly so, as it offers a good opportunity
for the apotheosis of Brahmanism and the Brahmanic caste.

In the jRV(X.136), the hymn contains the glorification of the Sun as a muni,
a solitary ascetic; the present hymn may be understood best from a similar
starting-point The Sun, who contributes elsewhere many of his qualities to the
speculations regarding the primeval principle of the universe, is here for the
nonce-imagined as a Brahmacan, a Brahmanical disciple, engaged in the practice
of his holy vows. The Tait.Br. (III. 10.11.13) tells an illustrative of the great
virtue, ascribed to brahmacarya during three lives of the sage Bharadvaja.
Indra approaching him when he was lying decayed and old said, “Bharadvaja,
if I give thee a fourth life, what will thou do with it ? He answered “Twill use
it only to practice brahmacaryd\ He showed him three objects as it were
unknown in the shape of mountains. From each of these he took a handful.
He said, addressing him; “Bharadvaja, these are the vedas; the vedas are the
infinite . This is thou hast recited during these three lives. But other things have
remained undeclared by thee. Now learn this(Agra Savita)”this is universal
knowledge.144

144. bharadvaja ha tribhirayurbhirbrahmacaryamuvasa / tam ha jirnimsthavirarp Sayanam indrah

upavrajya uvaca “bharadvaja yat te caturtham ayurdadyarji kimetena kuryah” iti/brahmacaryam
eva enena careyam ” iti ha uvaca / tam ha girirupan avijfiatan iva dar&ayahcakara / tesani ha
ekaikasmad mustim adade/ sa ha uvaca “bharadvaja” ityamantrya “vedah vai ete / anantah vai
vedah / etad vai etaistribhirayurbhiranvavocantah / atha te stared ananuktam eva / ehi imam viddhi
/ ayarti vai sarvavidya iti /

[95]
 Griffith is of the opinion that this hymn is a glorification of the Brahmacarl
or religious student. But whitney in his introduction of the sukta opines that,
“The rendering, vedic studentship is too rigid to fit everywhere.” Brahmacarl
is the celibate student in the first a&rama stage or period of his religious life
from the time of his upanayana which means conformation or initiation by
investiture of the sacrificial thread till he marriages and enters to the second
stage as a house-holder. RV(X. 109.5) refers Brahmacarl where Juhu the wife
of Brahma or Brhaspatih exclaims her husband leads the life of a Brahmacarl,
even adoring all the Gods, He becomes a portion of the Gods, therefore
Brhaspatih obtained his wife as the Gods receive an offering. In this verse we
get adequate reference that Brhaspatih by leading the life of a Brahmacarl and
by adoring all the Gods has become a portion of Gods and as the Gods receive
the offerings, Brhaspatih obtained his wife. So the life of a Brahmacarl appears
to be defined and known in the Rgvedic period. The outward feature of the
Brahmacarl and basic intellectul qualities associated with Brahmacarl are very
much cleared in this hymn.145

1.7.1 The etymological meaning of Brahmacarl

The term “Brahman” is applied to any things which possesses the quality
of greatness Brhattva, from the root ‘brK but primarily denotes that which
possesses greatness of essential nature as well as of qualities in unlimited
fullness and such is only the Lord of all. “car”-acarane, vicarane, dartone,
carvane. So the meaning of Brahmacarl is Brahmani carati iti Brahmacarl.
atmanam vardhayati, vardhanaMataya carati vitivamiti, vyapnoti vitivamiti va
brahma labhartham sadacaramacarati iti brahmacarin. Sayanacarya in his
commentary says that brahmani vedatmake adhyetavye caritum Mam asya sa
tathoktah,146 Hence, Brahmacarl is the vedic or religious student, who has
some astonishing miraculous power.
145.AVXI.5
146. Atharvaveda Samhita with Sayana's commentary(part-III),p.l02

[96]
I. 7.2 The power and glory of Brahmacan

The power and glory of a Brahmacan is expressed in number of verses. The

Brahmacan has been bom of the Brahman (purvo jato brahmano brahmacan).147
He goes on setting in motion both the firmaments. He maintains the earth and
heaven. The God becomes like-minded in him. The fathers and all the gods
individually assemble after the vedic student. The Gandharvas went after him.
He fills all the Gods with fervour. The fervour or tapas is a significant
characteristic associated with the Brahmacan. The Brahamcdrl has been elevated
to the position of the supreme creator as the seer exclaims “Prayer bom of the
BrahmanThe vedic student clothing himself with heat (,gharma) stood up
with fervour, from him was born the Brahman or the mantras, the chief
Brahman and all the gods together with immortality.

Brahmacan as the creator

The sukta says that the Brahmacan with the power of creation as the
supreme creator, generates the Brahman, the waters, the world, Prajdpati. The
viraj becomes an embryo in the world of immortality . Having become Indra
he has shattered the Asuras. Even the Brahmacan has been identified with
Prajdpati with Viraj and with the Indra . He represents and is identified with
all the deities. The power of Brahmacan is referred to brahmacarya which is
translated by Griffith as self restraint and as “Vedic studentship” by W.D. Whitney.
But the word brahmacarya refers to the nature and character and the duties
associated with the brahmacarl, so Sayana says --

brahma vedah tadadhyayanartham acaryam acaranlyam samidadhana

bhaiksacaryordhvaretaskatvadikam brahmacdribhiranusthlyamdnam karma
brahmacaryam.m

147.AVXI.5.5
148. Sri sayanacaryakrtam, Atharvaveda-samhita($&tt-TLT) p. 113

[97]
 So the duties and rules of a Brahmacari are referred to as brahmacarya.
The power of brahmacarya is very great. In order to describe the glory of
brahamcarya, the seer of AV gives a number of examples.149 By the brahmacarya
a king protects his kingdom, an acarya or a teacher seeks a real student, a girl
wins a young husband. Even a horse strives to gain food by the power of
brahmacarya. By the brahmacarya the gods smote away death. Indra brought
heaven for the gods by the power of brahmacarya. Thus everything which
occurs in the world as well as the heaven is governed by the power of self-
restraint or the virtues associated with the concept of brahmacari.

The herbs, the past and future, the day and night, the trees in the forest,
the year along-with the seasons all are bom of the vedic student.150 The earthly
and heavenly cattle of the forest, the animals of the forest as well as of the village,
all the creators are bom of the vedic student.151 All the children of prajapati
have been animated distinctly and the Brahma that is stored within the
brahmacari guards and protects them all. The brahmacari bears the radiant
Brahma wherein all gods are woven close together. He creates all sorts of
breaths as prana, apana, vyana the speech, the mind, the heart, the Brahma
or the vedic mantras and the intellect or the medha.

1.7.3 The Acarya and Brahmacari

The relationship between Acarya and Brahmacari is very close and like
both side of a coin, The Acarya, adopting the Brahmacari as a disciple , makes
him a Brahmacari even in the womb and supports him in the belly for three
nights. When he is bom the gods gather on to see him.152 The Acarya performs
the role of a spiritual second mother for the vedic student. By The upanayana
or the initiation ceremony the student is regenerated and bom anew.

149. AVXI.5,17,18,19
150. AVXI.5.20
151.AVXI.5.21
152. AVXI.5.14
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 The vedic student defends all the regions by his tapas. The teacher is
described as the death incarnate (mrtyuh) because he snatches the life of the
student for his misconduct. The teacher is also varuna incarnate because he
restrains the Brahmacari from commiting sins. The teacher is also man incarnate
because he brings bliss and happiness to the Brahmacari. A Brahmacari gets
all sorts of the material objects by the grace of the Acarya. Acarya repersents
all the deities. The seer in the AV identifies the acarya with the Brahmacari
and Brahmacari with the Acarya. acarya brahmacari brahmacari prajapati /
(AV XI.5.16)

Here, it is stated that Acarya is the Brahmacari. By practicing the Brahman

or the miraculous power, acarya is also known as Brahmacari and by performing
the self-restraint or Brahmacarya, he became powerful and thus he is the
Prajapati, the creator of the whole universe. With his magical act or miraculous
power, he shines the shining (viraj) and thus he became Indra the ruler. An
acarya gets a celebate student only through his brahmacarya. So the seer says-

acarya brahmacaryena brahmacarinamichhate / (AV XI.5.17)

The relationship between the acarya and the vedic student, which has
been depicted briefly in the Grhya sutras and the Dharma sutras.

1.7.4 The attire of Brahmacari

In resemblance with the later literature, the Brahmacari in the AV is associated

with ruddy colour, with samidh with the girdlQ(mekhald) with black antelope-skin
and long beard etc. This outward features of Brahmacari is reflected in this way-

brahmacaryeti samidha samidhah

karsnam vasano diksito dirghaSmairuh /
sa sadya eti purvasmaduttaram
samudram lokantsamgrbhya muhuracarikrat//
(AV XI.5.6)
[99]
 The main aspects associated with the Brahmacarl are the samidh,
girdle(mekhala), the staff, the black-antelope skin. Let us discuss the significance
of all these aspects one by one.

> samidh

samit-samgraha or collection of the wood is a glorious duty of a

Brahmacarl. At the initiation or Upanayana samskara, a significant part of the
ceremony associated with the Brahmacarl consists of Brahmacarl possessing
fuel of the sacrificial fire. The vedic student was to offer a samidh in the
evening and the morning everyday. According to Grhya-sutras, the samidh
must be of palatia or some other sacrificial trees like palaia, ativattha,
nyagrodha, plaksa, vaikantaka, udumbara, bilva, candana, sarala, iala,
devadaru, khadira etc. But samidh of kovidaraka, Sakadruma, nlpa-nimba,
karanja, tilaka, Mesmajaka or telmali are not to be employed according to
trikanda mandana( 11-82-84).

The Brahmacarl puts samidh not only in the fire but also in the Sun, in
the moon, in the mataritiva, in the waters, the fire and the Sun with the
sacrificial oblations like ajya etc. By doing this type of sacrificial work, proper
rain in time and the increase of the water level in ponds, well and rivers etc
are accomplished. So the act of putting on samidh has multiplied mysterious
rewards, caused by the virtue of the Brahmacarl.

agnau surye candramasi mdtariSvan brahmcaryapsu samidhama dadhati/

tasamarclsi prthagabhre caranti tasamdjyam puruso varsamapah//
(AV XI.5.13)

But in the AV some-how exacted metaphorical description of samidh is to

be found. In the sixth verse it is said that brahmacaryeti samidha samidhah,
which is explained as the Brahmacarl moves with the lustre of samidh which

[100]
is put into fire in the morning and evening.153 In the AV, the samidh or the
piece of fuel associated with the Brahmacarl, is not the ordinary log of wood
of palasa or khadira etc. The piece of fuel is earth, the second is sky, the
heaven. The Brahmacarl fills the mid-regions with the fuel. With fuel the
brahmacarl fills the entire universe. So the seer exclaims: The earth is the first
fuel, the heaven is the second fuel and the Antarlksa is also filled by the .
Brahmacarl and by this act of enkindling of the samidh, the brahmacarl
protects and fills the world. In fact the universe and the earth are protected and
sustained by the pious act of enkindling of the samidh by brahmacarl.
iyarn samit prthividyordvitlyotantanksam samidha prnati /(AV XI.5.4)

> mekhala
Putting on mekhala is another aspect of & Brahmacarl. When a student
becomes Brahmacarl, he must use the mekhala tied round a brahmana boy’s
waist, made up of munja grass. The Grhya sutras like Mvalayana, Baudhayana,
Kathaka and other prescribed Grhyasutras give much more importance to the
mekhala. According to these sutras mekhala should be made up of rnuhja grass
for a Brahmana’s boy, one made of murva grass for a ksatriya and one hemp
cords for a vaifya. The AV (XI.5.4), refers to the girdle of brahmacarl, as
brahmacarl samidha mekhalaya lokan pipartti. Though there is no further
exposition about mekhala or girdle in the sukta, but the Grhya-sutras give
much importance to the mekhala.
> krisnajinam
The Brahmacarl siikta depicts the brahmacarl as clad with Black- antelope-
skin(karsnam vasano). Usually the brahmacarl wears a skin of Black- antelope.
But the grhyasutras describe that different castes wear different garments. A
brahmana student wears the skin of ruru. VaiSyas student wears the skin of
a goat. If they put on garments, they should put on dyed ones. Reddish- yellow,
red and the yellow.
153.AVXI. 5.16

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> danda
• •

The Brahmacarl holds a danda or a staff in his hand and it is his

compulsory duty. Danda is a highest instrument of a brahmacarl. There is
some divergence of view about the trees of which the staff was to be made.
A^hlayana grhya sutras says that a staff of the palasa wood for a brahmana,

of udumbara for a ksatriya and bilva for a vaifya or all the varnas may
employ a staff of any of these trees. The staff should be as high as his head,
forehead or the tip of the nose. The sahkhyayana grhya sutras prescribe that
the brahmacarl should not allow any one to pass between himself and his staff
and that if the staff, girdle or yajhopavlta breaks or rends, he has to undergo
a penance extending the period of Brahmacarya. The danda is the symbol
of the qualities and autsterities of the Brahmacarl which is as strong and erect
as the staff itself.

1.7.5 The Significance of irama, tapas, gharma, bhiksa, & brahmacarya,

> Srama, tapas and gharma

§rama, tapas and gharma all are the significant concepts associated with
brahmacarl. (AV XI.5- 4,8,9) refers to the full -fledged development of the
concept of the aSrama dharma of a latter stage. Many features of the disciplined
life of penance, which characterised the religious cult of the brahmacarl, seems
to have been transfered to the life of studentship or brahmacarya.

In die AV the members of the religious cult of the brahmacarl are described
as clothing themselves with heat(gharma) and standing up with fervour, tapa AV
(XI.5-5) also gives the same idea. As the result of their penance they were
endowed with special powers,(X3-5.12). Thus $rama, tapas and gharma are the
basic inward qualities, which bring upon brahmacarya or self restraint. Brahmacdn
fills the world with his penance and Srama or austerity. Sayana defines Srama as
the toil in restraining the sense organs (indriyanigraha). Thus control of the sense

[102]
organ is the main characteristics of brahmacarl. tapas or penance may be defined
as the sum total of austerities causing pains to the body.

The word gharma which is explained by Sayana as the shining form and
the brahmacarl by restraining sense organs by following the austerities of collecting
the samidh etc. by reciting the vedic mantras become clad with brilliant laustre as
if he is enkindling fire. So the brahmacarl is depicted as tapasvl or the great
observer of penance. He is Babhru and Pihgala or the great Ruddy- one.

> bhiksa

bhiksa or begging alms is another important duty of brahmacarl. The sixth

verse refers to the brahmacarl as dlksitah which means consecrated. Sayana
explained the word dlksitah as bhiksacaranadibhimiyamavitiesaimiyantritah or
one who is regulated by different rules of begging alms etc. In the brahmacarl
sukta the alms of brahmacarl are identified with earth and heaven. Thus the
nineth verse says that the brahmacarl first of all brought here this ample as
alms and heaven above it. The alms of Brahmacarl are not the ordinary food
begged by him, but it is the food representing the essence of Brahmacarya.

> brhmacarya

The atiramadharma, one of the central features of the Hindu religion, attempts
to fill the whole life with the power of spirit. The four airamas are brahmacarya,
garhasthya, vanaprastha and sannyasa. Brahmacarya is the discipline a student
has to undergo when studying under a gum. In Chand.Up. Ibid (VHI.4.3) it is
stated that the world of Brahman belongs to those who find it by brahmacarya.
In (VIII.5) it is also brahmacarya equivalent to the performing of sacrifices.
According to Sayanacarya, brahma menas the spiritual knowledge or veda. By
studying this spiritual knowledge certain activities like the collection of firewood,
begging etc. are performed after performing ascetic rites or penance.

[103]
(brahma vedah tadadhyanartham acdryam acaraniyam
samidddhdnabhaiksacaryordhvaretaskatvadikam brahmacaribhiranustiyamdnam
karma brahmacaryam) The significance of the brahmacarya is thus narrated
by tihe seer that-
brahmacaryena tapasa raja rastram vi raksati/
acaryo brahmacaryena brahmacdrinamichhate //(AV XI.5.17)

Through brahmacaryam or holy disciplehood, through tapas^creative fervour)

, the king protects his kingdom. The teacher by(his own) brahmacaryam (holy
life) seeks (finds) the brahmacdri.
brahmacaryena kanya yuvanam vindate patim/
anadvan brhamacaryena&vo ghasam jigirsati//(AV XI.5.18)

Through holy disciplehood the maiden obtains a young husband, through

holy disciplehood the ox, the horse seeks to obtain fodder.
brahmacaryena tapasa devah mrtyumapdghnata /
indro ha brahmacaryena devebhyah sva rdbharat //(AV XI.5.19)

By self restraint and tapas the gods destroyed death. By self restraint
Indra acquired heaven from (or for) the gods. In this way the significance of
Brahmacarya is narrated very nicely in this hymn.
1.7.6 Brahmacdri, as identified with the Sun

The hymn contains the glorification of the Sun as a Brahmacdri, a

solitary ascetic . The Sun, who contributes elsewhere many of his qualities to
the speculations regarding the primeaval principle of the universe, is here for
the nonce imagined as a Brahmacdri, a Brahmanical disciple, engaged in the
practice of his holy vows. The purely physical qualities of the Sun peep out
in a variety of stanzas especially in AV 1,5,6,11,23 & 26. The Brahmacdri
works, quickening both worlds. The gods are joyful in him. He has established
the earth and the sky. He satisfies his Acarya (religious teacher) by tapas.154

154. AV XI.5.1

[104]
 In XI.5.6, it is described that Brahmacarl, in the form of Sun, bom first
from the Ultimate Being, then he arose through tapas clothed with heat. From
him the divine knowledge (brahmana)the highest Brahma and all the gods
together with immortality were produced.155 The Brahmacan advances, lighted
up by fuel, clothed in a black antelope skin, consecrated, long bearded. He
moves straight way from the eastern to the northern ocean, compressing the
words, and again expanding them.156

In the 11th stanza it is described that, there are two Agnis, one on the
hither side, the other away from the earth. The two Agnis are explained by
Sayana, correctly, we believe as the fire of the Sun and the terrestrial fire,
eko'gnih anudyatsuryatmako vartate, aparah parthivo'gnih prthivya upari
vartate. And further:-The combined rays of this (terrestrial) fire and the Sun,
exceedingly strong in their fusion, expand upon heaven and earth. The
Brahmacarl by his ra/7as(creative fervour) enters into the rays.157 This, that was
set into motion by the gods, that is insurmountable, that moves shining, from
it has spmng the brahmanam {Brahmanical life), the highest, and all the gods,
together with immortality amrta.158 These things the Brahmacarl fashioned
upon the back of the (heavenly) water. He stood in the sea kindled with tapas
(creative fervor). He, when bathed, shines vigorously upon the earth, brown
and ruddy.159

All these descriptions mentioned that Brahmacarl as in the form of

glorifying Sun, the ultimate source of all the living beings.

155. AVXI.5.5
156. AVXI.5.6
157. AV.XL5.il
158. AV.XI.5.23
159. AVXI.5.26

[105]
1.7.7 The Brahmacari and Brahman

In AV (XI.5) Brahmacari is identified with the Brahman. Being a vedic

student he has been identified with all the deities and has the power of the
supreme creator.160 In the AV, the word Brahman passes through different
meanings.

One who possesses the miraculous power, is Brahman and this miraculous
power arises from the magical rites which sharpens the five ograns of sense and
mind. Brahmacari a student of Brahman, a repository of such wonderful
powers resorts to a stronghold, where the Brahman yields to him both refuge
and defence(AV XIX. 19.8). So the brahman is completely protected against
any calamity. Thus being a worshipper of brahman, the Brahmacari becomes
powerful to create everything. Brahmacari possesses some kinds of miraculous
powers, which is clearly described in this verse -

brahmcarl brahma bhrajad vibharti tasmin deva adhi vi$ve samotdh /

pranapanau janayannad vyanam vacam mono hrdayam brahma medham//

(AV XI.5.24)

The Brahman also resides in the person, who studies the Brahman
AV(XI.5.22). This stronghold of the brahman means the sum total of the
miraculous power, energy or spirit. It is covered with the immortality. A person
who knows the brahman also becomes identified with the Brahman and so the
Brahmacari being identified with the Brahman guards, long life, worldly
happiness and becomes the creator. So he becomes capable of securing the
power, to rule the Universe.

Another meaning of Brahman is, it stands for the power or the spirit
behind the deities. All the prominent deities receive their power from the
Brahman. Agni is increased by Brahman.(AV 1.8.4) The same idea is cited in

160.AV XI.5.5,7,10,22,23,24

[106]
XI.5.4, that the Brahmacari, is the Brahman, who fills the worlds his creative
fervour.161

The another meaning of Brahma is yajha or sacrifice so Brahmacari is

a student of veda who performs the sacrifice. The act of creation is treated as
a sacrifice. Brahmancarl creates the whole world by performing sacrifice and
penane. This earth is his first piece of firewood, the heaven is the second and
the wind is his third fire wood.162 It was the Brahmacari who first produced
this broad earth and the sky as an alms. Having made these into two sticks
of firewood he reverts them; Upon them all beings have been founded. In
them all creatures are contained.163 Plants whatever has been or whatever shall
be, is produced from the Brahmacari.164 The terrestrial and celestial beings,
beasts both wild and tame, creatures without wings and winged have been
produced from the Brahmacari.

In the 12th stanza, it is described that water, which is the source of every
living beings is being stored in varuna or cloud by Brahmacari. The
Brahmacari sprinkles seed upon the back of the earth.165 Here he enacts the
role of Prajapati. The Brahman's relations in the matter of sacrifices also
shows that the fruit arising out of the performance of yajha is not
different from the Brahman.

Finally the Brahman is the ruling power behind the Universe, which
is also found in the AV. In this sukta it is mentioned that one can attain
Brahman by the penance or tapas. Brahmacari rules over the world by
the penance or tapas. He takes recourse to the rigorous practice of austerity
for being deeply absorbed in a supreme consciousness, tapas and
brahmacarya were regarded as greatest virtues and considered as being
161. AVXI.5.4
162. AVXI.5.4
163. AVXI.5.9
164. AVXI.5.20
165. AV XL 5. 12
[107]
productive of the highest power.166 So a Brahmacarl under perpetual bliss
experiences, the sublime force of the absolute cosmic being and attunes
with all moral orders and principles of the world even being the ammoral
in character all moral obligations are due to him. So tapah is Brahma and
the possession of the miraculous power by means of his penance leads
to the attainment of Brahma. Thus he is Brahmacarl.

brahmacarlsnamticarati rodasl ubhe tasmin devah sammanaso bhavanti!

sa dadhara prthivlm divarn ca sa acaryam tapasa piparti II
(AV XI.5.1)

The Brahmacarl moves all around the world both the heaven and the
earth with his creative fervour(tapas). All the Gods are joyful in him. He has
established the earth and the sky by his penance.167

Now reviewing the etymologies of the word and the significance of the
word, it may be pointed out that in the AV, the word stands for the mantras,
The mysterious power arises out of the study of the veda, study of the vedic
mantras as well as out of the performance of the rites. So being endowed
with such power the Brahmacarl becomes as powerful as Brahma and
becomes the creator. Thus he becomes identified with the Prajapati, with
viraj and controls Indra. The Brahmacarl is described to be bom of the
Brahman, the first four highest principles. So he animates all the plants. It
is the water in the mid air. In the last verse Brahmacarl is described as being
absorbed in water. Ultimately the Brahmacarl possessed of the brahman
becomes the creator of all. Brahamcarl is also associated with viraj. Prajapati
is viraj of shining deity. Viraj is the mler of all.

Thus the Atharvanic seers defines the Brahmacarl and elevates him to
the dignity of the creator. Prof.schende remarks that “the Brahmacarl is the
166. S.N.Dasgupta, A History of Indian Philosophy, Vol.l, p.226
167. AVXI.5.2

[108]
Brahman, because he practices Brahman which is miraculous power behind
the universe, which permits in all creations”(AV XL5.24) By the attainment
of the Brahman the Brahmacdrl has become immortal. Being immortal the
Atharvavedic seers (mean)that the Brahmacdrl should live a full period of
human life in the world and then reach the heaven. Thus the Brahmacarl is
invested with immortality.

The analysis of the Brahmacdrl sukta shows that, this is a remarkable sukta
in the AV. Though it is generally assumed that this hymn extols the vedic student
still, some of the descriptions of the Brahmacdrl given in this hymn seem to
go against the generally accepted concept of a Brahmacarl as the various ideas
as the Brahmacdrl possessing long beard, upholding the earth, being identified
with the Supreme Entity etc.

By the above analysis, here it may be concluded that the Brahmacarl sukta
contains many ideas associated with the concept of a normal vedic student as well
as a number of mystic ideas which create divergent opinions among the scholars.
Griffith in his translation of verse-nine of this sukta comments “with reference
the poverty of Brahmacdrl” who lives on the gifts of the pious, But it is quite
improper to conceive or visualise the Brahmacdrl, who is the creator of the entire
world as poor, rather begging of alms from different prescribed houses refers to
a very nobel discipline of student-ship. More-over a student should not be very
much choosy about his own food. The society should take care of his food. His
entire concentration should centre round the knowledge. This may be the idea
behind the bhiksa vrtti of a student rather to think of his poverty. More over
the alms of the Brahmacdrl have been given most exalted descriptions in the
Brahmacdrl sukta. The Brahmacdrl alms are not ordinary food, but these have
been identified with earth and heaven. By getting the earth and heaven as alms
he makes these two fuel logs or samidha and conceiving them as samidha.
he worships. By these divine acts the earth and heaven are being sustained. All

[109]
the beings depend upon the pious bhiksa of Brahmacari. This idea is beautifully
portrayed in this line-

te krtva samidhavupaste tayorarpita bhuvanani vi$va ll(AV XI.5.9)

However Sayana’s commentary is very much successful in giving

integrated interpretation of the whole silkta as relating tc the vedic student.
But still some of the hymns in this sukta are of obscure meaning. By
analysing all the views of Sayana as well as the modern interpreters like
J.Muir, W.D.Whitney, Griffith and Bloomfield etc, it may be said that the
Brahmacari sukta contains many mystic ideas. There might be a specific cult
as suggested by Dandekar at the time of AV and some features of that cult
have been incorporated in the description of Brahmacari by the seer. The
hymn glorifies some basic virtues of the Brahmacari which have been much
developed in the post Atharvavedic literature as found in Grhya sutras and
Dharma&astras. Manu gives a vivid and thorough description about
Brahmacari in Manusamhita.

Though mysterious still the hymn has much message for the society
especially for the student generation. The fundamental characters of a student
as observing celibacy, as obeying the Acarya, as performing penance and
striving hard for knowledge are reflected in this sukta. The aim of education
is modification of behaviors and should train people in such a manner so that
they can guide and show light to the mankind. This goal can be achieved
if a student observes brahmacarya. The frustrations, indisciplines and bad
habits like addiction to drugs and sex etc, which are some of the vices of
the present day student generation will be uprooted if one will follow the
ideals of studentship visualised by the seers of vedas.

[110]
1.8 Ucchista
1.8.0 Introduction

Another important hymn in the kanda XI of the AV, is known as ucchista

(XI.7) where the divine power ascribed to the remains of the sacrifice is
elaborately described in tewnty seven mantras by the seer Athrava. The hymn
is applied in the sava yajna. The divine power is ascribed to the remains of
the sacrifice which is named Ucchista Brahman.

The vedic writings are extermely flexible in assigning to a first cause the
creation and maintenance of the universe, in the course of their cosmological
speculations. There are purely abstractions, like sat (being) and asat (non-
being), tad(that), eka (the only): cosmic forces like Brahma, kala, kama, prana
and personal creators like prajapati, purusa, vUvakarman Hiranyagrabha etc.
But further in the course of the speculations of the Brahmanas, universal or
special cosmogonic power is attributed to all sorts of trivial circumstances, even
down to the special features and implements of the sacrifice. The priestly power
and priestly activity, are made to stand for the cosmic force with which they
aim to establish relations. Sayana is quite right, therefore, in correlating the
present hymn with such a statement as is made in Tait.Br I.I.9.1 and also Mait.
5. II. 1.12, where divinities are bom of the leavings of the brahma odana (also
in AV XI.I;XH.3) which had been eaten by Aditi. It is also cited in Mund.Up.,
that ucchista is the real cause of the universe or Ucchista is the source of the
universe . In the Ua. Up. Mntipatha, it is cited :

purnamadah purnamidam purnatpurnamudacyate /

purnasya purnamadaya purnamevavaSisyate II

During the creative involution, the creation is a complete infinite whole

and thus the involutionary form of bhutabhava (before creation) is also a
complete whole, of whole the whole having been taken off during the
involutionary course, the whole even then is left over, therefore the residual is
[HI]
also a complete infinite whole. The interest of the hymn lies rather in the
attempt which it makes to exploit exhaustively the chief concerns of Brahmanical
existence and belief. Except for its metrical form it belongs to Brahmana
literature.This hymn (AV XI.7) is also found in OST, Vcl v, p. 369 ff, and
Scherman, Philosophische Hymnen aus der Rig-und Atharva-veda samhitd.
p.S7ff, where partial translations of the hymn are addressed.

1.8.1 Ucchista : as in the hymn(XI.7) of the AV

In the AV (XI.7) the residual whole is named as ucchista Brahman, The

word ucchista is a compound word of "ut + Sista" meaning the left over.
Sayanacarya in his prologue says that-homad Urdhvam Sisyate avatisyata iti
hutavatistah praSanartha odanah ucchistah. In the AV this odana is designated
as Atman or the Supreme soul. Another meaning is also given by him that-
ut urdhvam pralayatparam yadavaSisyate tad ucchistah. During the involutionary
course, what is left over is called ucchista, as it is said in the purusa sttktam
of the flV(X.90.4) and the AV(XIX.6.4) that “tripadttrdhvamudaitpurusah
padosyehabhavat punah." Purusa has four quarters, His three quarters mounted
upwards. A quarter of him again was produced below. He pervades among
things animate and inaniamte. Therefore Atman or Brahman is known as
ucchista Brahman. The entire universe exists in ucchista. the Absolute. The
first verse is cited in this way-”

ucchiste nama rttpam co'cchiste loka ahitah/

ucchista indralscagntica viivamantah samdhitam //(AV XI.7.1)

In the ucchista (remains of the sacrifice) are contained name, form.168 the
world, Indra and Agni and the Universe all are deposited, ’’ucchiste nama
rttpam" in this regard Tait.Br. H.2.7.1, gives an illustration that Prajapati had
created living beings. They however, were in a shapeless slate. He entered into
them with form. Hence, men say Prajapati is form . He en:ered into them with

168. AV X.2.12; RV X.73.8

[112]
name. Hence men say Prajapati is name in the second verse it is said :-

ucchiste dyavaprthivl vUvam bhutam samahitam /

apah samudra ucchiste candrama vata dhitah//
(AV XI.7.2)

On ucchista heaven, earth, the universal existence, waters, oceans, moon

and air all are existed.

sannucchiste asamScobhau mrtyurvajah prajdpatih/

loukya ucchista dyatta vraSca draticapi Mrmayi//
(AV XU.3)

In the ucchista are, both being and non-being, death, strength(food) and
Prajapati. The creatures of the world are founded upon ucchista; also that
which is confined and that which is free, and the grace in me.169 Sayana in his
bhasya says, vrah varako varunah drah dravakah amrtamayah somah. All
these are deposited in the ucchista.

drdho drmhasthiro nyo brahma viSvasrjo datia/

nabhimiva sarvataScakramucchiste devatah Mtah//
(AV XI.7.4)

Brahma, the ten creators of all things, the gods are fixed on all sides to
the ucchista as (the spokes) of a wheel to the nave. So too the rk, saman, yajus,
the hymns, the different sorts of sacrifices like aindragnam, pavamanam,
rajasuya, vajapeya etc. and parts of the ceremonial etc. are comprhended in it.
It is depicted from the verses five to thirteen. The fourteenth verse, describes
that nine earths, oceans, skies are contained in the ucchista. The sun-shines,170
day and night are in the ucchista. Ceremonial, truth, rigorous, abstraction,
dominion, effort, rithteousness and works, past, futrue, strength, prosperity,
force all reside in the ucchista(vs.ll).

169. M. Bloomfield, Hymns of the Atharvaveda SBE, XLII,p.226

170. tasya bhasa sarvamidam bibhati (Kaiv. Up. V.25)
[113]
 In the ucchista, are embraced, the resounding waters, thunder, the great
Mi, pebbles, sand, stone, plants, grass all the celestial gods (vs 23). The rks
and samans, metres, puranas, yajus, two of the vital airs (prana and apana),
fathers, men, gandharvas and apsarases all were bom of the ucchista.

Thus in this hymn, ucchista personified as an Ultimate Being, the creator

and sustainer of all.
1.8.2 Ucchista personified as Purusa

At least in two stanzas(15th, 16th) the ucchista is personified as the

masculine ucchista, quite in the manner of the relation of the neuter brahma
to the masculine brahman. In these two verses (15th, 16th) , ucchista is called
the father of the gQnemtor:(Prajapati):

uphavyam visuvantam ye ca yajha guha Kitah /

bibharti bharta viivasyocchisto janituh pita//
pita janitur ucchistso'soh poutrah pitamahah/
sa ksiyati vi$vasye$ano vrsa bhumyamatighnyah ll(AV XI.7.15-16)

The soma sacrifice called upahavya, the offering on the middle day of a
sacrifice lasting a yeax(visuvant) and the sacrifices that are secretly presented are
in the ucchista, the sustainer of the universe. And this ucchista is the father of the
gmemtoriprajapati). Praja means the people and the son. Prajapati (Brahma)
is the creator of the peoples or human beings and Prajapati is also the father as
the generator of his children. Thus ucchista as the creator and the sustainer of all
these, is called the father of the universe. As He is the father of this universe and
the generator (Prajapati), he is called the primal ancestor(grandfather), the mler
of the universe and prana(asu) which exists in the human body is the grandson
of ucchista. The four-headed Brahma and all the gods conceived as his grandson.
In this way ucchista is the lord of all the universe, the Grandfather of this universe
and the fullfiller of all desires. He pervades all over the universe and exists in the
human body as the individual soul.
[114]
 Thus ucchista is being described as the ultimate Being{Brahma) in which
all the living beings and non-living objects are deposited and this ucchista is
also described as the creator and fosterer of all the gods and human activities.

1.8.3 Residual as the Sesanaga

The ancient sages of India were lovers of fine arts. They conveyed their
philosophies through life-like pictures, poetry, metaphors, similes and allegories.
All the Indian mythology is an expression of this kind. The Residual cosmic
power, a complete infinite whole, represented as serpent is one of such
expressions. In the AV, this residual whole which is named as ucchistha
Brahman, assumes the mythological form of the Sesa serpent, the Lord of all
serpents and the support of the universe, and is called Sesa because of its
residual aspect. He is also called the Ananta, the infinite. This is an allegorical
description of the infinite residual power of visargabhava left over after the
creation is complete, which then rests coiled up as a support of the universe,
The corresponding adhyatmabhava is also represented there as Narayana sleeping
over the soft but cold couch prepared by the serpent king with its infinite coils.

Again, we have Siva worshipped as an oval-shaped phallicform lihga with

snakes coiled round it. This is a beautiful representation of God in his aspect
of Adhyatmabhava at the centre wrapped with the involutionary coils of his
emanation all round him. Thus the worship of God with whole universe
emanating from him. A phallus, a vegetative body is quite an appropriate
picture of God in his adhyatma aspect with the whole creation within himself.
Siva as one of the Hindu ideas of triad (trimurti) represents the principle of
destruction and of reproduction. The phallicform Lihga (a symbol) indicates
both the disappearance and manifestation of the involutionary and emanation
at his desire. Usually worship of Siva in this form consists in offering of
oblations of fresh cold water showered over the idol known as abhiseka, a
shower bath with prayers for bestowing peace upon the whole universe including
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the person or the devotee. In the case of living beings, the residual power takes
the individualised form of this kundalinl tiakti, also a serpent-like power
exibited as a coil around the Siva Linga three and a half times with tail in her

mouth placed at the top. The seat of Kundalinl in the sleeeping or potential
state is at muladhara, i.e. at the base of the spinal column.

Representation as serpents indicates involutionary coils of the dynamic

visargabhava. Serpent as a living being denotes life with a comparative loss of
intelligence during the involutionary course. As residual the power represented as
Sesa or kundalinl is in the potential state and not a spent up force after the creative

cycle is complete. A force that has been exhausted in effecting its purpose cannot
without a potential residual serve as a support for its product; and as such the
ucchista aspect of Brahman in its potential state supports the universe. There is
yet another purpose that the residual power serves. It possesses an infinite
potentiality for imparting a push to the static power for the upward evolutionary
turn to revert back to its source when aroused. Thus according to the mythological
view, residual represents is in the form of serpents, before creation.

The hymn is nothing but a momentary symbolic transfer of the divine,

pantheistic attributes to a certain ritualistic feature made prominent for the time
being. The writer knows that he is simply transferring his most fullsome
cosmogonic conception in order to accentuate to him important ritualistic act, the
consumption of the leavings of the sacrifice, the veil is thin; everything that is
said here fits the Brahma, or some other embodiment and Sayana boldly establishes
the equation that ucchista is Brahma. The divine power is ascribed to the
ucchista (remains of the sacrifice). Here it may be noted, however, that the road
for this drastic transfer is opened in a measure by the philosophical position of
the word anna : food. This is a prominent link in the chain that unites man
to the universe.

[116]
1.9 Rohita

1.9.0 Introduction

Rohita, probably a form of the fire and of the Sun, is another deity (katicit
devah), who is higly celebrated in the AV. In the thirteenth kanda of the AV,
four hymns are devoted to the worship of a divinity called Rohita and his
female RohinI, who is in the course of the literature designated as Usa, Surya,
Savitrl, Dyu etc. The entire hymn (XIII. 1-4) consisting of one hundred eighty
eight mantras, attributed to the seer Brahma, ascribe a sublime-glorification of
“The Red-One”(the genius of the sun)as a cosmogonic power. In this regard
Wintemitz says that “more secretiveness than true philoshopy is found also in
the long Rohita-hymns, of which the XIII book of the AV consists and in
which moreover all sorts of things not connected with one another appear to
have been thrown together.171 Whitney in his translation says that Rohita is
evidently a name or form of the Sun, as he is addressed as vajin (udehi vajin)m
as a synonym of form of the Sun.173 The word Rohita is derived from the root
“ruh”,(rises, ascends) with his penance to the sky. So the etymological meaning
of Rohita is “ruho ruroho praruho ruroho dyavaprthivyam ruroheti rohita”.

In the AV, Rohita, depicted as the creator of the Universe is the Aditya
or Sun who becomes Kala and Prajapati to create. He creates all the worlds and
beings, protects and destroys them. He, as the Supreme, is superior to Prajapati.
As the Atharvanic religion leads to the practice of magic and the practice of
magic leads to the attainment of the miraculous power(Brahman), by means of
such power one mles over and controls the entire creation. Thus, one, who is
possessed of the Brahman(miraculous power) know the Brahman (the highest
principle). Along with the magic the seers practise penance (tapas).Thus penance
is also required to attain such miraculous power. Whereever such mighty power

171. M.Winternitz, A History of Indian literature, p.141

172. AV XIII. 1.1
173. W.D. Whitney, The Athrava-Veda-Samhita, p.709

[117]
is seen, it is assumed that the possessor of power has practised magic and
penance. Thus the Atharvanic seer descirbes Rohita, the sun as increasing
himself with the Brahman.174 It is also found that Rohita its rays, lustre and
energy all are mentioned with special reference to their practical importance in
the life of human beings.175
Of the four hymns addressed to Rohita, the first hymn(XIII.l) consisting
of fifty six mantras is a prayer for soverign power addressed to the God Rohita
and his female Rohinl. Rohita ‘the red one ’i.e. the Sun or the spirit of the
Sun, praised as the creative principle of the earth and the heaven. It represents
an allegorical exaltation of a king (raja) and his queen (mahisi). The heavenly
king Rohita is associated with the earthly king and the earthly king is glorified
with the female are called upon to protect and exalt the king and queen. In
the midst of all this there are also curses against enemies and rivals in love.
There are some charms for protection of life and securing power. The Universal
characteristics of Rohita has been depicted in this hymn. He is the creator and
the gemerator of whole world. Somewhere he is identified with Agni, Surya
and other manifestations. The hymn is applied in the royal cermonies
(rajakarmani), the king frequently ascends(<3ra/i, or akram), a throne, or skin,
or horse; the act of course, symbolises every time the moral ascendency of the
potentate. This hymn has been translated by Muir, V-395(part), Griffith 11.133;
Bloomfield, 207,661, Whitney,p.709 etc.

The second hymn is addressed to the Sun, the synonym of Rohita,

consisting of forty six mantras. The hymn is also found in Paipp.S. XVIII and
translated by Ludwig, p.540; Henry, 8.36; Griffith, 11-143; Muir(39-41 verses)
V, p.396; Scherman, p.75 etc. The seer prays to Rohita as in the form of Surya
or Sun. Rohita or Surya, who is the source of life and energy(in the form of
wealth and light) is rightly prayed here for protection of life and for securing

174. AV XIII. 1.9

175. AVXIII.2.1
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power . He is identified as the supreme soul176 and pervades all over the
universe.
The third hymn consisting of twenty six mantras, addressed to the Sun
with imprecation on the evil doer. The hymn is translated by Ludwing p-543;
Henry,14.45: deussen, Geschiehte, 1.1.226; Griffith n.150, Whitney.p-719. In
this hymn (XIII.3) Rohita is praised as the supreme being, the creator and the
sustainer of the universe. This hymn ascribes the ruling power of Rohita and
the gods are said to have generated by Rohita. But in some verses, the same
Rohita is exhorted to crush in his wrath the one who tortures a Brahman. Thus
he is prayed for destroying the enemies.

The fourth hymn is addressed to the Sun entitled by Whitney as “Extolling

the Sun”. The hymn consisting of six paryayas and fifty six verses .This hymn
is not found on Paip.S. and this is translated by only Henry, 17.51 and Griffith
11.154. The hymn ascribes almighty powers to Rohita being possessed of
Brahman. He is described as the creator, protector and destroyer of the
universe.They delineate the cosmic activities of god Rohita.

All the four hyms of this section (under the name Rohita) are prescribed
in KauL Su 99.4 to be used in case of a darkening (eclipse) of the Sun. The
first half verse is according to Kauti.Su 49.18 to be used in the witchcraft
ceremony of the ‘water-thunderbolts’ when the boat sinks.

Through these hymns ascribed to Rohita as the form of Sun, it has been
observed that the Atharvanic seers are very much aware of the significance of
solar energy, its utility in curing diseases, as well as the importance in keeping
the wheels of time and seasons rolling. Some magnificient aspects of Rohita,
associated with this hymn considered Rohita as the supreme-soul, the basis of
all existence, which has been visualised by the seer Brahma.

176. AV XII. 2.35

[119]
 Some intrinsic features of Rohita as ascribed in the hymns (XIII. 1 - 4)
of the AV may be analysed as follows :-

1.9.1 Rohita allegorically represented as the heavenlly king

This hymn of the AV(XIII.l) represents an allegorical exaltation of a king

(raja) and his queen (mahisl). The heavenly Rohita and his female are called
upon to protect and exalt the king and queen. Some soverign powers are
ascribed to Rohita as follows-

udehi vajin yo apsvantaridam rastram pra vtia sunrtavat I

yo rohito vLivamidam jajana sa tva rastraya subhrtam bibhartull

(AV XIII.1.1)

This hymn bespeaks protection for a king from Rohita and it implies the
closely association of the heavenly king with the earthly king. In this verse
Rohita is addressed as vajin(synonym of Sun) the powerful one by saying-o
vajin (the powerful one(Rohita) that generated this all,-shall keep thee well-
supported for sovereignty. In the next verse it is said:
ud vdja a gan yo apsva'ntarviia a roha tvadyonayo yah/
somam dadhano’pa osadhirgaicatuspado dvipada a ve&ayeha//
(AV XIII. 1.2)
vaja(power), the steed has risen up within the waters, ascends upon the
clans(vttah, praja) that are sprung from thee; assuming the soma, the waters,
the herbs, the cows, make thou the four footed, the two-footed ones to enter
here. In the third verse the seer addresses to the courageous persons as Marat
to associate with the Indra(the typical king), for defeating the enemies in the
war.Thus the seer says:-

yuyamugra marutah prsnimdtara indrena yujd pra mrnlta Satrun /

a vo rohitah tirnavat sudanavastrisaptaso marutah svadusamudrah//

(AV XIII. 1.3)

[120]
 The appearance here of a stanza that deals with Indra and the Maruts is not as
arbitary as it may seem to be at first sight. The Maruts are the people and Indra the
typical king. Thus Rohita suggests the king, who listens to the people (the Maruts).

ruho ruroha rohita a ruroho garbho janinam janu samupastham/

tabhih samrabdhamanvavindan sadurvlrgatum prapafsyanniha rastramahah//
(AV XIII. 1.4)
Rohita, has climbed the heights, he has ascended them, he, the embryo
of women, (has ascended) the womb of births. Closely united with these
women they found out the six broad(direcions); spying out a road he has
brought hither sovereignty.177 In the last the seer prays for the development of
the kingdom by saying-hither to Rohita has brought sovereignty; he has
dispersed the enemies: freedom from danger has resulted for thee. To thee
heaven and earth together with the revati and f’akvari-stmz&s, shall yield gifts
at will.178 These stanzas(4,5) exhibit a very pronounced allusion to practices
akin to the rajasuya. In the royal ceremonies (rajakarmani) the king frequently
siscends(aruh, or akram), a throne, or skin, or horse; the act, of course,
symbolises every time the moral ascendency of the potentate.179
1.9.2 Rohita as identified with Agni
Rohita is probably a form of Agni. As Agni he shines with piercing light,
in the third space he did assume lovely forms.

urdhvo rohito adhi ndke asthad viSva rupani janayan yuva kavih /
tigmenagnirjyotisa vi bhati trtlye cakre rajasi priyani ll(AV XIII. 1.11)

He is known as jataveda(Agni), a bull with a thousand horns, endowed

with sacrifices of ghee, carrying some upon his back, rich in heroes.
sahasratirhgo vrsabho jataveda ghrtahutah somaprsthah suvirah/
bha ma hasmnathito net tva jahani gopasam ca me vlraposam ca dhehill
(AV XIII. 1.12)
177. M. Bloomfield, Hymns of the Athravaveda,SBE, Vol.XLII, p.207
178. AV XIII. 1.5 : M. Bloomfield, Hymns of the Athravaveda,SBE, Vol.XLII, p.207,208
179. M, Bloomfield, Hymns of the Athravaveda,SBE, Vol.XLII, p.661

[121]
He is the generator of the sacrifice and its mouth.

rohito yajhasya janita mukham ca rohitdya vaca Srotrena manasd juhomi /

rohitam deva yanti sumanasyamana sa md rohaih samityai rohayatu II

(AV XIII. 1.13)
Thus Rohita is identified with Agni.

1.9.3 Rohita; in the form of Surya, as the Ultimate Being

In the second hymn of the thirteenth kanda of the AV, the Sun is celebrated
for Rohita. Rohita as the creator of the universe is the Aditya or Sun who
becomes Kala and Prajapati to create. Thus the seer says:

rohitah kdlo abhavad rohito'gre prajapatihl

rohito yajndnam mukham rohitah sva'rabharat Il(AV XIII.2.39)

“Rohita became time; Rohita formerly became prajapati. Rohita is the mouth
of the sacrifices. Rohita produced the sky.180
rohito loko abhavad rohito’tyatapad divam/
rohito raSmibhirbhumim samudramanu sam carat l/(AV XIII.2.40)

Rohita became the world; Rohita is the ruler of the sky. He preserves
heaven, ocean and earth whatever exists. And yet the gods are said to have
generated Rohita.181 In his Universal or cosmic form Rohita protects all. He
creates all the worlds and beings. Protects and destroyes them, as the supreme,
as superior to Prajapati and Virajm In(XIII.1.4) Rohita in the form of surya
ascends the sky; earth and heaven. Surya is also the water. In RV 1.23.29
and AV XVII. 1.13, Rohita through his form of water is prayed to give that
ambrosia which is the essence of water and. is useful to cure diseases. Rohita,
in the form of surya, his regular rotation keeps the wheel of time and seasons
rolling.183 Rohita or Sun is called the supreme soul of all. the universe:

180. J. Muir, OST. Vol.V, p.396

181. AVXIII.3.23
182. AV XIII. 1.3

[122]
 citram devanamudaganikam caksurmitrasya varunasyagneh /
aprad dyavaprthivl antariksam surya atma jagatastasthusatica //
(AV XIII.2.35)

The Sun is the Supreme Soul pervades all over the Universe and fills
heaven and earth and the atmosphere.

ucca patantam arunam suparnam madhye divastaranim bhrajamanam/

paSyama tva savitaram yamahurajasram jyotiryadavindadattrih.il
(AV XIII,2.36,)

That supreme soul flying on high, the red eagle, in the midst of the sky
hasting shining- we may see thee, whom men call the impeller(s<2vzYr), the
unfailing light which Atri found. In the very beginning of this section, Rohita
is also addressed as vajin, the synonym of the Sun: udehi vajin yo
apsvantaridam... (XIII. 1.1) Rohita is the first being bom from the water which
is another form of Hiranyagarbha.m

Thus Rohita, probably the form of the Sun is justified here.

1.9.4 Other aspects of Rohita as associated with this hymn

> Bestower of wealth and other objects

One of the aspects of Rohita is that he confers wealth and other worldly
objects on his worshippers. Thus the seer prays:

divam ca roha prthivlm ca roha rastram ca roha dravinam ca roha/

prajarn ca rohamrtam ca roha rohitena tanvam sam sprSasvall
(AV XIII.1.34j
“Both ascend thou to heaven and ascend to earth; both ascend to kingdom
and ascend to property; both ascend to progeny and ascend to immortality; make
thyself contiguous with the mddy one.185 The seer pays his homage by saying-

183. AVXIII.2.32,39
184. AV IV. 1.1
185. W.D.Whitney, The Atharva Veda Samhita, p.715

[123]
 namaste astu paSyata pa&ya ma pafyata /

annadyena ya&asa tejasa brahmanavarcasena //(AV XIII.4.56)

Homage be to thee, o conspicuous om(patiyata)-, see (pafya) me, o

conspicuous one. With food eating, with glory, with brilliancy, with brahman
splendor”.

Thus in this hymn, Rohita is prayed for the wealth and other objects.

> Destroyer of the enemies

The peculiarity of the AV, lies in the fact that it has got many hymns that
are used as charms to keep away hostile agencies. A few scattered references
of this kind are also found in connection with Rohita. For example Rohita is
requested to take away the sight of enemies and to destroy them.186 He is
requested to keep the enemy far.187

hantvenan pra dahatvariryo nah prtanyati/

kravyadagnina vayatn sapatnan pra dahamasi H(AV XIII. 1.29)

He shall slay them, shall bum the enemy that battles against us. With the
flesh-devouring Agni do we bum our rivals.188 In another verse Rohita is
identified with Indra and prayed to destroy the enemies with the thunderbolt.

abaclnanava jahlndra vajrena bahuman/

adha sapatnan mamakanagnestejobhiradUi //(AV XIII. 1.13)
Curses against enemies and rivals in love and against the one who kicks a
cow with his foot or passes urine against the Sun(AV XIII. 1.56) are also found. In
the hymn XIII-3 Rohita is praised as the supreme being in some verses whose
pathos reminds us of the Varuna hymn quoted above, but a burden of the song is
added on to these verses in which the same Rohita is exhorted to crash in his
wrath the one who tortures a Brahmin. It is said for example:

186. AV XIII. 1.28 -32

187. AVXIII. 1.27
188. M.Bloomfield,Hymns of the Atharva Veda, SBE, XLII, p.211

[124]
 ya ime dyavaprthivl jajano yo drapim krtva bhuvanani vaste/.........
ud vepaya rohita praksinihi brahmajyasya prati muhca pagan II
(AVXIII.3.1)

He who generated these two heaven and earth; who clothes himself in
existences, making them a garment (drapi); in whom abide the six wide
directions, towards which he, the flying one, looks all broad against that god,
angered,(is) this offense (agas); whose scatches a Brahman knows thus, do
thou, o mddy one, make him quake, destroy him; fasten on the felters of the
Brahman-scather. From whom the winds in their season go purifying, out of
whom the oceans flow forth- against that god etc.189

Thus in the entire hymn of this kanda(Xlll3)hy the side of such spirited
glorifications of Rohita have been depicted as well as it has been also depicted
that Rohita is the destroyer of enemies.

1.9.5 Rohita and Brahman

The Atharvanic seers gave great importance to the practice of Brahman

and the Practice of magic leading to the attainment of the miraculous power(the
Brahman). By means of such power, one rules over and controls the entire
creation. Thus the Atharvanic seers describe Rohita, the sun, as increasing
himself with the Brahman:

tasam brahmana payasa vavrdhano viii rastre jagrhi rohiiasya//

(AV XIII. 1.9)

He generated the heaven and earth and made them firm:
rohita dyavaprthivl jajana tatra tantum paramesthl tatanal
tatra sigriye ja ekapado' drrnhad dyavaprthivl balenal/
(AV XIII.1.6)
Rohita produced heaven and earth; there paramesthin (the lord on
high)extended the thread (of the sacrifice). There aja ekapada (the one footed
189. W.D.Whitney, The Atharva Veda Samhita, p.727,728
[125]
goat, the sun)did fix himself; he made firm the heavens and earth with his
strength.190 The aja ekapada certainly refers to the sun, which is also seen in Tait,
Brill, 1.2,8, which means the one footed goat(with double entente, “driver, and
again non-bom) again, has risen in the east, delighting all gods; at his urging all
the gods go. This description is also available in the prana suktaQQ.A.2l)m
where prana is identified with the sun Thus Rohita which is the form of sun
established heaven and earth by his force. He generated the heaven and earth and
made them firm. The gods secured immortality through him
rohita dyavaprthivl adrmhat tena sva stabhitam tena ndkah/
tenantariksam vimita rajamsi tena deva amrtamanvavindan II
(AVXtil.1.7)
Rohita established heaven and earth; by him the sky was supported, by
him the heaven. By him the atmospheres, by him the regions were measured
out. So the etymological meaning of Rohita is ruh, ruroha, praroha i.e. to
ascend the earth and heaven. The all-pervading nature of Rohita can be imagined
with this charm-
vi rohito amriad viSvarupam samakurvanah praruho ruhaSca /
divam ruddhva mahata mahimna sam te rastramanaktu payasa ghrtena/l
yaste ruhah praruho ydsta aruho yabhiraprnasi divamantariksam/,
tasam brahmana payasa vavrdhano viii rastre jagrhi rohitasya/l
(AV XIII. 1.8,9)
Rohita did ponder the multiform(universe) while preparing his climbings
and advances. Having asended the heaven with great might, he shall anoint thy
royalty with milk and ghee.192 All thy climbings, advances, and all thy ascents
with which thou, (Rohita, the sun)fillest the heavens and the atmosphere
having strengthened thyself with their brahma and payas.(spiritual and physical
essence) do thou keep awake do thou watch over among the people in the

190. J.Muir, OST,p.395,396

191. yadanga sa tamutkhidennaivadya na Svah syanna ratrl ndhah syanna vyucchet kada cana (AV
XI.4.21)
192. M.Bloomfield, Hymns of the Atharva Veda, Sfl£,Vol.XLII p.208
[126]
kingdom of the (earthly)Rohita (the king)!193 Here Rohita is praised as the
creative principle of heaven and earth and however an earthly king is glorified
and the heavenly king Rohita is associated with the earthly king.

The sovereign powers of Rohita is also described in these following verses.

rohita jajfiasya janita mukharn ca rohitaya vaca irotrena manasa juhomi/

rohitam deva yanti sumanasyamdnd sa md rohaih sdmityai rohayatu//
rohita yajham vyadadhad vtivakarmane taramat tejamsyusa memanydguh/
voceyam te ndbhim bhuvanasyadhi majmani// (AV XIII. 1.13,14)
yo rohito vrsabhastigmatirhgah paryagnim pari sttryam babhuva/
yo vistabhndti prthivim divam ca tasmad deva adhi srstih srjante//
rohito divamaruhanmahatah paryarnavat ; sarva ruroha rohito ruhahll
(AV XIII. 1.25,26)

These verses describe that Rohita is the generator and the mouth of
sacrifice. So the seer offered his oblation to Rohita with voice, ear and mind,
as the gods resort with gladness to him.194 Rohita offered a sacrifice to
ViSvakarman. From the sacrifice all the brilliant qualities have come to the seer
the act of creation is treated as a sacrifice also.195 He is also described as the
creator of all the being. The gods frame creation out of that Rohita who is a
sharp homed bull, who surpasses Agni and Surya, who props up the earth and
the sky.196 Rohita ascended the sky from the great ocean; he ascended all
ascents.197 In Rohita, who is the conquerer of wealth and cows...the heaven and
earth are sustained...198 He became the sacrifice, both past and future. From him

193. Ibid.
194. AVXIII.1.13
195. AV XIII.1.14
196. AV XIII. 1.25
197. AV XIII. 1.26
198. AV XIII. 1.37

[127]
sprang all this whatever there is which shines developed by Rohita, the rsi.m
Thus with his sovereign power he created the heaven and earth, and ascends
all over the Universe.

But a question arises in the mind of the seer, that what is the secret of this
miraculous power of Rohita ? The Atharvanic seer explains that it is all due
to the penance performed by him. He is a tapasvin and with his penance he
ascends to the sky and is bom again and again.

rohita divamaruhut tapasa tapasvi/

sa yonimaiti sa u jayate punah sa devanamadhipatirbabhuva //
(AV XIII. 2.25 j

The fire of Rohita is increased by the Brahman, offered with the Brahman
and enkindled with the Brahman of miraculous power. Rohita makes the days
and nights of different forms on account of his wonderful power(rndya).

yat prah pratyah svadhaya yasi ilbham nanarupe ahani karsi mayaya/
tadaditya mahi tat te mahi iravo yadeko viSvarn paribhuma jdyase 1/

(AV Xlll.23)

Rohita is identified with time to create.200 Rohita being possessed of the

Brahman, controls all witchcrafts(y«rw)which obey him.
tasyeme sarve yatava upa praMsabhasate /(AV XIII.4.27)

Thus in the AV, Rohita is allegorically represented as heavenly king,

the creator and sustainer of all the universe. He is depicted as the giver of
various desired objects and the destroyer of the enemies. This veda also depicts
that he is identified with Agni, Surya and other manifestations. But the striking
features of Rohita in the AV are that, he is depicted as prajapati or the Creator
and Ruler of the Universe.

199. AVXIII.1.55
200. AVXIII.2.39
[128]
I. 10 Kala
1.10.0 Introduction

Kala or Time is an important factor that governs the life of man, The
concept of kala occupies a unique place in the philosophical literature of India.
It has been eulogised in different literature in different ways. According to
scholars, there was a distinct school of thought in ancient India, known as
kalavada, which holds that the ulitmate cause of all movements of life and
thought is kala, conceived as an insentient power, much like the western
conception of fate, necessity and destiny or as the supreme conscious power
identical with the Absolute Reality, or even as a subordinate power immediately
responsive to the supreme will. But no knowledge of that school is available
in records of human history but a divergent conceptions of time found from
vedic period.

The earliest references of time are found in the RV, the wheel of the year
which has twelve spokes and three naves. The twelve spokes are the twelve
months and the three naves are the three seasons. Also there is a reference to
the three hundred and sixty spokes which are none other than the days of a
lunisolar year(RV 1.164.48). In the RV(I.164.11), the seven hundred and twenty
sons of the year are joined in pairs. These refer to the days and night. ‘Kata’
is used only once in the tenth mandala of the RV(X.42.9), in an adverbial
sense “in timQ”(vicinoti kala). In the famous sukta of the RV, kala is connected
with the means of sacrifice: the rains were the butter, the summer, the kindling
wood, the autumn, the gifts to the priests.201 In the Yajur Veda(21 A5), various
divisions of time have been found in this way-

samvatsaro’si parivatsaro'sldavatsaro’si vatsaro'si vatsaro’si/

usasaste kalpantamahoratraste kalpantamardhamasaste kalpantam masaste
kalpantamrtavaste kalpanta samvatsaraste kalpantam //

201. RVX.90.6
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 The divisions of time arQ-samvatsara, parivatsara, Idavatsara, idvatsara,
vatsara, usa, ahoratra, ardhamasa, mdsa and rtu. The Brdhmana-tQxts deal
with this concept of time both on the mystic level and ritual level. The Upanisads
have a lot of discussions about kala. The Mait. Up. (Yl.14), it is said that-

kalat sravanti bhutani, kalad vrddhim prayanti ca/

kale castam niyacchanti kalo murtiramurtiman //

From time all beings flow, from time they advance to growth, in time they
obtain rest and they disappear. Again it is said in this Upanisad(Vl.l5) that
(dve vava brahmano rupe kala$cakdla$ca. In the several puranas kala or time
considered as a deity. In the Mbh, kala or Time is regarded as a mythological
as well as a philosophical entity. There it is found that Brahma creates the
beings Visnu protects them, Rudra that is kala (time) destroys them(brahma
srjati bhutani pati nardyano 'vyayah, rudra hanti jaganmurtih kala esa
kriydbudhah.)202 Kala is the creator of beings being impelled by its own self
as is described in the Mbh XII.267.5 - tebhyah srjati bhutani kala
atmapracoditah. In the BG (X.38) Srikrsna identifies himself as the imperishable
time (ahamevaksayah kdlah). Thus here also kala seems to be the highest
principle.
The Nirukta of Yaska too has a discussion on this concept of time. It says,
“a moment” a recurring(unit of) time, rtu is derived from the root V* meaning
to go; muhuh(agmri) as if time was indolent; mulah as long as a moment.
abhiksanam-abhi-ksanam, a moment, ksana (an instant) is derived from(the
root) ksanaiio injure) : It is the injured time. kalah(time) is derived from the
root “kala”, meaning to go(muhurto muhurrtuh, rturarttergatirkarmanah /
muhurmulaha iva kalah / yavad abhiksanam ceti / abhiksanamabhiksanam
bhavati / ksanah ksanoteh / praksunutah kalah / kalah kalayatergatikarmanah /
{Nirukta.II.25) kal+nic+ac=kdlah. The real meaning of kala is ‘/co’ which

202. Mbh XII.224.10

[130]
means “cause” (karana)md ild>means udsestraction”(/<yy<2). Then “kala”means
the root cause of all destructions. The etymological meaning of kala is
“samkalayati kalayati va bhutdnlti kalah. kala exists in the body in the form
of movements of its vital air” From this it has been observed how the
etymologists too pondered on the concept of time according to their science.

A developed concept of kala is found in the famous hymns of the AV203

The AV for the first time opens the discussion regarding time and handless time
overtly as a concept, calling it kala and there it is regarded as the creator,
sustainer and destroyer of all objects. In the nineteeth kanda of the AV, two
hymns are dedicated to kala, consisting of around fifteen mantras, composed
by the seer Bhrgu, where a very significant and fundamental exposition on
kala is to be found. Along with the iaunaklya samhita, these hymns also
occur, in the Paipp. S.XIV. and XII(53.1-6 in XIV; 53.7 to 54.6 in XII). These
suktas have been translated by Muir, OST, V,407-408, Ludwipg, Der
Rgveda,III. 191 Lucian Scherman, Philosophisch Hymnen aus der Rig- and
Atharveda Samhita(strassburg,1887),p.78,p .80,82, Bloomfield, SBE, Hymns
of the AV,p-224,68T,225,687, Whitney, The Athrvaveda Samhita, p.987, 989.
These suktas are theosophic and cosmogonic in character and play no part
in the practices of the Atharvan, except that they are recited along with the
kama suktam (AV IX.2) and the purusa siiktam(AV XIX,6.7?VX.90) in the
tenth Atharva-pariMsta, in the context of the Bhumidana. Sayana has the
following statement in his introduction to this and the following hymn: “kalo
a$va vahati” iti suktadvayasya souvarnabhumidane ajyahome viniyogah, uktam
hi pariSiste, anvarabhya tha juhuyat kamasuktam kala suktam purusasuktam.
The suktas have grown very popular in Indian literary traditions and some of
their mantras have become inseparable part of our subhasitas. The two suktas
which are highly philosophic in nature, describe the influence of kala, i.e. time

203.AVXIX.53.54
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on human beings and the universe. Thus, here, Kala is used in two senses right
from the Vedic times - viz. time in general (as in modem Sanskrit and modem
language) and time as identical with the Supreme Being or the source of
creation.
The hymns imply that the Eternal time is the background of all things.
The vedic seers knew the distinction between the methods of marking time and
the abstract concept of time itself. The. seasons mark the passage of time, kala
suktam of the AV identifies time with brahman. The seer declares in this hymn
(AV XIX.53.4) that time is an abstract entity which causes all the dynamics seen
in the universe(XIX.53.6). Eternal time is the power behind the whole universe.
All the worlds and creatures are produced from Him. He is the eternal conquerer
of all the worlds and is supplicated as the supreme soul.

1.10.1 Kala as Universal and Infinite

As per the hymns addressed to kala, kala dominates everything. Kala or
time is the most transcendental of the personifications, It is infinite and all
pervading . In the AV, kala is allegorically identified with a$va as:-
kalo’ativa vahati saptaratimih sahasrakso ajaro bhuriretah!

tamarohanti kavayo vipaticitastasya cakra bhuvanani vi$va //(AV XIX.53.1)

It is like an a^va(horse), which has seven reins, but has thousand of eyes.
The epithet a§va is interpreted differently as the horse which takes its course
through out the universe and as one who extends in all the three times past,
present and future. In this sense Sayana describes Kala as all pervading, as per
the derivation of the word aiva-a$nute vyapnoti bhutabhavisyad
varttamanakdlavarttini vastunlti a$vah.2MKala is being described as saptaraSmih.
The epithet saptaraimih denotes the seven seasons. (saptartuh
ekaikarturmasadvayatmakah saptamastu, trayoda$o masah) According to
Sayanacarya, kala(tixm) drives as a horse, which has saptaraSmi or seven reins.

204. Atharvaveda Sarnhita with Sayana's Commentary, AV XIX.53.1

[132]
Sayana imagines the seven reins being tied to the mouth, neck and feet of the
steed and explains them as being the six seasons, each consisting of two
months, the thirteenth (Lunar)month of the intercalary year being the seventh.205
According to Griffith seven reins means the seven solar rays. If “seven to the
one-wheeled chariot yoke the courser; bearing seven name the single course
draws it. Where, however, the course is the Sun, and the seven are said to be
the priests. In this sense Sayana further supports of his interpretation(/?V I.
164.15), where the thriteenth month is probably described.206

Kala is also described as sahasraksa means thousand-eyed. Kala has

thousand eyes. Here eye (afoi)indicates days and nights, kala is sahasraksa as
it is endowed with endless nights and days. So kala with his thousands of
eyes which is the form of endless days and nights, pervades all over the
universe. This shows that kala is infinite. It is undecaying, ever young(ageless).
Time is rich in energy(Mwn'reta/i). It has much capability of energy to construct
the whole Universe. In this manner, kala carries forward and reaches the living
beings in their destinations. Sages inspired with holy knowledge, mount him.
According to Sayana “The rsis mount(i.e. control) time, svadhlnam kurvanti,
svadhinakala bhavantir201 In every moment kala is fleeting or changing. So
kala is described as a wheel. This wheel spreads all over the Universe and
living beings.
1.10.2 Kala identified with the Sun
The Sun is identified with time as the ordainer of time-kalanivartakatvad
adityah kalatmakah. In this hymn(XIX.53.1), kala is identified with the Sun
which is symbolically represented as a horse. According to Acarya Sayana a$va
indicates Aditya and Saptara&mi indicates seven rays of the sun {kalatmakoivah
suryah sapta raSmayah pradhanabhuta yasya te caiva sapta surya ityucyante.2m
205. M.BIoomfield, Hymns of the Atharvaveda, SBE, Vol. XLII, p.682
206. sapta yuhjati rathameka cakrameko a$vo vahati saptanamd. (7?V 1.164.2; AV IX.9.16)
207 .M.BIoomfield, Hymns of the Atharvaveda,SBE.Vol.XLII, p.683
208. Atharvaveda Samhita with Sayana's Commentary, AVXIX.53.1

[133]
 The seven rays indicate seven suns, which are named by Taittiriyans-
drogo, bhrajah patarah patahgah svarnaro jyotismdn vibhasah. Im kafyapa
adityah, is the chief among these seven Suns{kaiyapo'stamah sa mahamerum
na jahati)-210 According to Yaska it is said eko a&va vahati saptanama adityah.
saptasmai raSmayo rasan abhisamanayanti saptainam rsayah stuvanti va.2U
saptara&mi also indicates seven metres Gayatri, Jagati etc. are the seven metres,
or the word raimi indicates the horse which has seven horses(saptativah).212
Sahasraksah also indicates thousand of rays(aksi means ray). Adilya which is
the form of kala or time has thousand rays. Sayana defines
lisahasrakiranopetah,\2n i.e. the Sun and he is ajara(undecaying), eternal and
bhuriretah. In the AV(VIIL9.12) bhuriretah is used for the Sun.214 Retah has
also the implication of water. Then bhuriretah means plenty of water. Sttrya
by his rays, intakes the water. So he is called bhuriretah. In the hymn eulogising
Rohita, it is described that Rohita, a form of Sun is identified with time (AV
XIII.2.39). The Mait.Up. also celebrates kala, declaring that the Sun is its
sourc&(suryo yonih kalasya - VI. 14)

Thus in this hymn kala is identified with the Sun and Aditya drives (vahati)
the wheel of time. Sayana describes the rsi mount him, means one cross the solar
system and rich in the heaven, with his spiritual knowledge of the Supreme God.

1.10.3 Kala, the Ultimate Being having two forms

In AV kala is described as the Ultimate Being. To establish the
majesty of kala many attributes are used, from which it is known that kala is
adorned with all the appellations which are used for the Brahman. Kala is the
main and first cause of whole creation. Like Brahman, kala has two forms-
Impersonal or without an attribute and personal or with an attribute.
209 Tail. Ar. 1.7.1
210. Ibid.
211. Niruktam,1V.27.
212 sapta yunjati rathameka cakram{RV 1.164.2)
213. Atharvaveda Sanihita with Sayana’s Commentary, AV XIX.53.1
214. suryapatnl samcaratah prajanatl ketumatl ajare bhuriretasa (AV VIII.9.12)
[134]
 nityo janyaica kalau dvau tayoradyah pare$warahl
so'vahmanasdgamyo'pi dehi bhaktdnukampayd //21S

In Mait .Up. (VI. 14) the similar idea is found.

kalat sravanti bhutani kalad vrddhim prayanii cal
kdla castarn niyachhanti kalo murtiramurtimdn H

“By time creatures waste, by time they increase, in time they set: time is a
formless form” dve vava Brahmano rupe kalaS cdkdla&catha yah prag adityat
so'kalo'kalo tha ya adityad yah sa kalah sakalah”216 “There are two forms of
Brahma, Time and No-time. That which, is before the Sun is No-time, devoid of
parts; and that which is subsequent to the sun is time, with parts. The feature of
kdla which is the supreme soul is aksara and invisible whc is the form of the
principle, motion of the kdla. With an attribute the kdla is ksara and manifest and
perceived as moments, hours, days etc. In the AV, we have found two forms of
kdla in the following verse: kale ha bhutam bhavyam cesitam ha vi tisthate.217
In time past, present and future are subsisted. The same idea is reflected in another
verse as:- kalo ha bhutam bhavyam ca putro ajanayat pura.2li the past and
present which is form of the personal kdla is connected with the impersonal kdla.
And aslo-pita sannabhavatputra esam tasmad vai nanyatparamasti tejah/(AV
XIX.53.4) kdla is the father as well as the son of this Universe. All the creatures of the
i'

world are under the domain of time. He, who boms in the previous birth as father,
boms as son in this birth. Or even in same generation, a father boms as a son.219 So
there is no power superior to him.

Janya kdla or the personal kdla are of two types-vUesa and sdmanya.
These two types of kdla emerged from the eternal kdla. In this sense Manu
has been described-

215. Kalamadhaba of Madhavacarya edited by Dr. Braja Kishore Swain, p.17

216. Mait. Up.Vl.15
217. AVXIX.53.5
218. AVXIX.54.3
219. angad angat sambhavasi hrdayad adhi jayase /
atma vaiputranamasi sa jiva Saradah fatam//(KauSitaki Upanisad-ll.il).
[135]
 kdlam kdlabibhaktim ca naksatrani grahastatha/
srstim sasarja caivemam srastumichhannimah praja iti //{Manu Smrti 1.24)

The divisions of vyavaharika kala is ayana, rtu, masa, samvatsara etc.

These vyavaharika kala is merged with the eternal kala. This fact is also nicely
narrated in the skambha sukta of AV in the following verse:

kvardhamasah kva yanti masdh samvatsarena saha samvidanah/

yatra yantyrtavo yatrartavdh skambham tarn bruhi katamah svideva sah H
{AV X.7.5)
In the kena sukta it is also described that the vyavaharika kala is derived
from the nitya or eternal kala.

brahma irotriyamapnoti brahmemam paramesihinam /

brahmemamagnim puruso brahma samvatsaram mame //{AV X.2.21)
In the Tait. Ar. the empirical and transcendental kala has been defined very
nicely. Kala is always flowing like a big river{mahanadl). We have seen this
eternal kala in the form of endless samvatsara.

nadiva prabhavat kacit aksyydt syandate yatha /

tarn nadyo'bhisamayanti soruh sati na nivartate IKTait. Ar. 1.2)
samvatsara or year is regarded as one of the major division among the
various divisions of kala. As small rivers are merged into a bigger one, like that
all the minor divisions of kala{starting from the moments to solistice) are merged
in the samvatsara or year {samyag vasati asmin ayana, rtu masadaya iti
samvatsarah). In the Pra&n. Up. the year is identified with the lord of creation-
samvatsaro vai Prajapatih...220. According to Sukla yajurvedins samvatsara is
created from the Uvara or the eternal. They say that the God desires to be two. So
with the copulation of His word and mind, samvatsara is produced. In the RV,
Sayana describes that samvatsara is the form of the Sxm{Brahma)221

220. PraHn. Up. 1.9

221. In Mait. Up - It is described that the Sun is Brahma under the name of Kala.(VI.16)
The sun is the self of time as he is its ordainer, kala nivartakatvad adityah k&latmakah.

[136]
 catvdri Srhgah trayo'sya padah dve §lrse sapta hastaso asy&f

tridha vaddho vrsabho roravlti maho divo martydnavivetia H(RV IV.58.3J

Here, Aditya is identified with kala(time). Sayana defines-catvdri srngah

or four horns means the four cardinal points of the horizon; the three feet of
Aditya are morning, noon, evening, the two heads are day and night; and the
seven hands are the seven rays, Or the six seasons and their aggregate, or the
year, as the seventh. So here the Supreme Entity is allegorically depicted as the
time.

In the AV samvatsara is another form of eternal kala. Kala is allegorically

represented as an aiva(horse). Sayana explains the meaning of a$va as all-
pervading according to the derivation of a$va atinute vyapnoti
bhutabhavisyadvartamanakalavartini vastuniti ativah.222 Another meaning of
a$va is “na §vah iti ativah”, which means no tomorrow or no future. In this
sense it indicates the samvatsara which is another form of eternal kala. kala
is fleeting and for this reason kala is compared with a cakra or wheel. This
kalatmaka samvatsara has seven wheels - saptacakran vahati kala esal(AV
XIX.53.2) which means the eternal kala moves on sapta cakra or seven rolling
wheels. Seven wheels indicate seven seasons. Perhaps the six pairs of months
and the thirteenth or intercalary month, or the seven divisions of the year(solistice,
season, month, fortnight, day, night, hour) are suggested here, kala is also
termed as “saptaratimih” - kala a$va vahati saptarafmih l(AV XIX.53.1)

Here saptaraSmi also indicates seven seasons. In sayana bhasya it is

further being described that the wheel of time in terms of one, three, five, six,
twelve wheels are also seen in other writings.

This samvatsara cakra is divided as- cakrdtmaka and yajhatmaka.

cakratmaka samvatsara is based on the principle that sun is stationary at the
centre and the earth is revolving around the sun in a fixed orbit. And yajhatmaka

222. Ath&rvaveda Samhita with Sayana's commentary, AV XIX. 53.1

[137]
samvatsara is an instigator principle of all the beings. So this samvatsara is
called prajapati. This samvatsara has seven naves. According to Sayana seven
naves means seven seasons, kala is an exquisite principle which elapses from
the range of eyesight. The subtelty of kala has been described in the kala sukta
and its attribute is “tanvaksah” i.e. thin axle. The axle of the wheel shaped time
is described as -
sapta cakran vahati kala esa saptasya nabhiramrtam nvaksah!
sa ima vi$va bhuvananyanjat kalah sa lyate prathamo nu devahH
(AV XI.53.2)

Kala is like a chariot and the axle of this chariot is not visible. All men
are moving with the wheel of the chariot. The axle of a chariot, though too
small, is the main cause of movements of the cahriot. kala itself is also like
an axle of wheel which is the root cause of all the motions, kala is immortal
and undecaying. For this reason kala is not stationary and always progresses
ahead, kala is like a stream that flows. It is as a sea over which we advance.
Immortality and mortality are the two sides of kala. The progress of kala results
in days and nights and leads to add longevity to human life. This is termed
as immortal nature of kala. On the contrary, kala advances by its nature,
shortens the span of life of human being, this characteristic of kala is known
as mortal. Therefore, kala is called mrtyu or the god of death.
Kala is one and unique. But as the diversity does exist in kala it is used with
a varied notion to denote different situations and condition viz. past, future and
present, moments, days and nights, months, seasons, samvatsara etc. The sun
has played an intermediary role. Different names are attributed to kala. According
to vakyapadlyam of Bhartrhari the movement of the Sun in its path results in
distinguishing the kala in various forms like days, months, samvatsara etc.

tasyatma bahudha bhinno bhedairdharmantaratirayaih /

(Vakyapadlyam III.9.6)
[138]
 Different forms of kala are also mentioned in mantras of AV describing the
above phenomena.

purnah kumbho'dhi kala ahitastam vai patsyamo bahudha nusantah/

(AV XIX.53.3)
On time which is eternal and main cause of creation, laid on overflowing
beaker or a full jar is contained in time, which one beholds him existing in many
forms. In this entire eternal kala which is the form of supreme spirit, full jar(vessel)
has been placed upon him. puma kumbha indicates continuous or ceaseless time
which is the form of days and nights, seasons, months, years are inside in this jar.
This is the reason for which we realise the kala which is an attribute of past,
present and future. According to Griffith, Beaker means the golden pot which
indicates to the sun. According to him the Sun imagined as a golden urn
overflowing with light. In this eternal and entire time, there is a cover of golden
pot which is the form of solar system. This description about time is very much
scientific and authentic, kala has two forms. Sun is in the middle which is like
a border line.233 A mystery is there behind the Sun, from which the whole universe
is created. He is the ruller of all these universe and an instigator and also in the
last who is the cause of all the production. It is the impersonal kala as well as the
personal kala, which is regulated by the sun which has so many forms like days,
nights, months, seasons, years etc. In this manner the principle of kala is one and
it pervades all over the universe. The sages call that kala in the loftiest heaven,
where there is no worldly happiness and sorrows.

“tarn kala parame utkrste samsarikasukhaduhkhadi dvandvadosarahite

vyoman vyomani akdiavannirlepe sarvagate, vividham raksake
paramanandapradayake svasvarupe vartamanam ahuh vidvansah”224

223. dve vava brahmano rttpe...(Mait.Up. VI.15). Brahman has two forms-time and timeless-That which is
prior to the Sun is timeless and which begins with the Sun is time, which has parts.
224. Atharvaveda SamhitS with Sayana's Commentary,XIX .53.3

[139]
 It is the first God. In the beginning of the creation kala created the lord
of creatures (prajapati) and created the cvcaturesiprajah). Because it is the first
principle or the First God. The Svet. Up, describes kala as the firs principle.
The conception of kala as source of all is like that of rta, which is the eternal
principle of the world order. The root ‘r* to go in rta comes near to the main
idea in kala. Thus the deities are described to have been bom of the rta and
increased by the rtairtajata and rtavrdh). They are all bom and increased by
the eternal order of the time. The Atharvanic seers have put in the realistic basis
for the origin and growth of the gods, universe and creatures on the earth, for
all things are circumscribed by the time, kala is called svayambhu or the self-
bom. This svayambhu kala having become the £>ra/zraa(Spiritual exaltation)
supports the paramesthin(the highest Lord).

kalo ha brahma bhutva vibharti paramesthinam l(AV XIX.53.9)

The Brahman is conceived as an entity in time. It is settled in kala. kale
tapah kale jyestham kale brahma samahitam /(AV XIX.53.8)In time rigorous
abstraction, in time the highest, in time divine knowledge, is comprehended.
Time is lord of all things, he who was the father of prajapati. The Brahman
is identified with kala.
Thus the power behind the whole universe is the eternal time or the
Brahman.

1.10.4 Kala, treated as jlvatma and paramatma

Kala is also being nomenclatured as the individual soul or vital prinicple
as kala has to go through the same like later one(jlvatma) like birth, existence,
progress, destmction etc. such descriptions are also seen in the Nilakantha tika
of Mbh-
kalah avidharavyah sodaSo gunayuktah tadupadhirjlvah kalasajhah tasyal
sadasadvasanamayatvat krtatretadikala rupatvam praguktam//
CMbh. Santi Parva 320-109)

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 According to Say ana though kala is regarded as ParameSwara in the
hymn of kala, but still kala is also treated as jlvatma-

kale manah kale pranah kale nama samahitam /(AV XIX.53.7)

which means, mind, breath and name are embedded in kala or jlvatma.
with the presence of kala(ot jlvatma) mind and other special senses perform
their functions, jlvatma or kala attracts the six sense organs including the mind
resting on m.attQv(prakrti) in subtle form for enjoyment. Mind exists in time
means human beings experience sorrows and happiness at a moment of time.
In a moment man feels happiness or sorrows and at the another moment it
passes away from his mind. So it is called mind exists in time, prana or Breath
also is embraced by kala.

Progress of kala imparts longevity to the living creatures. In the Tait. Ar.
it is also described that prana or Breath is kalatmaka in the form of days and
nights or Ahoratra. So mind, breath all are embraced by kala or time and kala
attracts all these sense organs and directs them to perform their functions
accordingly.

kale ha viSvabhutani kale caksurvipaiyati /(AV XIX.53.6)

Eye also exists in time. So all the sense organs are doing their own work
by the kala or time. Name also exists in time. The names are merged in the
ocean of kala. kala or vital principle is sometimes used to define the male or
female or even kala creates everything and assigned name to them. Various
writings have been put forward to establish the fact that kala is termed as
paramatma. Bhartrhari in his vakyapadlyam describes kala as the unique
power of paramatma. Brahman is the first cause of urdverse. Maya is his
power or energy. Like Maya kala iakti also exists in Brahman. Universe is
progressing through a linear co-ordinated process by kala which is the power
of Brahman. This phenomena is still maintained. This has been written by
Bhartrhari-
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 adhyahitakalam yasya kala$aktimupa$ritah /

janmadayo vikarah sadbhavabhedasya yonayah //(Vakyapadiyam 1.3)

Kala has been described as God in several puranas where Brahma, Visnu
are the form of kala. In VP it is described-

kdlasvarupam rupam tadvisnomaitreya varttate /(I.2.27)

In the BG kala is also described as God by Sankaracarya.

dhumo ratristatha krsnah sannmasa daksinayanam /
tatra candramasam jyotiryogl prapya nivartate //(VIII.25)
I. 10.5 kala as the Brahman : The Creator, Protector and the Destroyer.

Kala as the creator

In AV (XIX.53,54), Kala or time being infinite passing itself from the past
to the present and then to the future is considered as the Supreme Cause, the
Lord of all (kala ha sarvasye$varah)(AV XIX.54.8). Here, one comes across
about time and its relations to the wheel and their immortalities is considered
as the axl£ of that chariot(AV 1X3.53.2). Kala is a primal deity (prathamo nu
devah) and all living creatures rejoice when Kala has approached (kalena
sarvanandantyagamena praja imah) (AV XIX.53.7). Also all things rest in
Kale ha vite bhutani (AV XIX.53.6). Kala makes and stirs this universe is
motion and on this Kala does it rest: tenesitam term jatam tadu tasmin
pratisthitam /(AV XIX.53.9) It created this world by the virtue of its penance.
The eternal kala is the background of all things and events in the universe. So
it is said that penance and Brahman are in kala.
kale tapah kale jyestham kale brahma samahitam/
kalah ha sarvasya Uvarah yah pita aslt prajapateh U(AV XIX.53.8)

It is the desire that arose in the mind of the supreme that he should become
many: so’akamayata ekoharn bahu syam prajayeya/(Tail Ar. VIII.6)
In Bd. Up. also - so'kamayata bhuyasa yajhena bhuyo /
yajeti; so iramyat, sa tapo'tapyata U(1.2.7)
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 He desired, let me sacrifice again with a greater sacrifice. He rested himself,
he practised, austerity, sa tapah atapyata means(He) practised austerity, tapas is
the glow caused by the concentration of mental energy. Through tapas, all creation
is effected. The ardoured mind, restrained and concentrated has power over things.
In RV it is also described that, everything are derived from the tapas (penance).
rtam ca satyam cabhidhat tapaso'dhyajayata /
tato ratryajayata tatah samudro arnavah I/(RV X. 190.1)

According to Griffith kala embracing holyfire refers to religious fervour,

devotion or austerity, rigorous abstraction. It is interpreted by Sayana as
paryalocana, the deep thought before creation. In Manusmrti also it is described
the Universe is created by the penance of Brahman. It is justified in the following
verse- so'bhidhyaya Sariratsvat sisrksurvividha prajah /(Manusmrti 1.8)

Kala creates the whole universe. First of all the water was created from
the eternal kala. In Manu smrti it is also described- apa eva sasarjadau tasu
vljamavasrjat( 1.8). From this kala the brahma(here brahma means yajha) the
divine knowledge or spiritual exaltation, the tapas(creative fervour), the
regions(or space) did arise.

kaladapah samabhavan kalad vrata tapo dUah!

kalenodeti suryah kale niviSate punah H(AV XIX.54.1)

The eternal time has created the heaven and from it all seers, worlds and
creatures are produced.
kalah praja asrjat kalo agre prajapatim /
svayambhuh kaiyapah kaldt tapah kaladajayata U(AV XIX.53.10)

kala, in the beginning created the lord of creatures or prajapati. Then it

produced creatures or praja. svyambhu or self bom was produced from kala.
From kala kaiyapa is also produced . The derivation of kakyapa :-

kafyapah paSyako bhavati yatsarvan paripa&yatlti souksmyatl

(Tait.Ar. 1.88)
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 In this manner KaSyapa is the Sun who looks all over the beings. KaSyapa
as the eighth Sun has been referred to the Tait Ar. (1.7.1) - kafyapostamah sa
mahamerum na jahati. kala is the father of Prajapati from whom the past, present
and the future were produced, kala is the father as well as the son of this universe.
kalo ha bhutam bhavyam ca putro ajanayat pura. (AV XIX.54.3). It created the
yonder Sky and these earths. All the creatures of the world under the domain of
the time. All the mortals look into the world through the eyes of time.
kalo bhutimasrjat kale tapati suryah/
kale ha vi$va bhutdni kale caksurvipaSyati U (AV XIX.53.6)
From Time sprang the Rk verses. The yajus is produced from time.

kaladrcah samabhavan yajuh kalddajayata / (AV XIX.54.3)

In purusa sukta of RV, it is also described that the three vedas are
produced from the purusa-

tasmad yajhat sarvahutah reah samani yajhire/

chhandamsi yajhire tasmad yajustasmadajayata H (RV X.90.9)

Through time they created the sacrifice, an imperishable portion for the
gods. On time the gandharvas and apsaras, on time the world are supported.
kalo yajham, samairayad devebhyo bhagamaksitam /
kale gandharvapasarasah kale lokah pratisthitah //(AV XIX.54.4)
Ahgiras and Atharvan, the creators are in kala
kale'yamahgira devo'tharva cadhi tisthatah /(AV XIX.54.5)

Atharvan is already described as the Prajapati, perfecting the creation of

man, who is the excellent abode of Highest spirit, From time all things are
produced. So kala is called the creator of all the living beings.

kala as the protector

kala is also called as the protector. All the natural phenomena are under
the domain of kala. kala is an instigator of all the things. By time the sun
burns -
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 kale tapati suryah/(AV XIX.53.6)
And also -
kalenodeti suryah kale nivUate punah //(AV XIX.54.1)
Through time the Sun rises and again sets. The Sun, planets, moon and
stars are running regularly and continuously as per the time. Through the time
the wind blows, through time the earth becomes vast. The great sky is embraced
in time.
kalena vdtah pavate kalena prthivl mahi dyaur mahi Mia ahitai
(AV XIX.54.2)

Mia is also the main cause of the changing of the seasons- saptacakran
vahati Mia esa (AV XIX.53.2). All these creatures rejoice when time arrives in
the form of seasons(spring, winter etc.) The peoples are enjoying, because their
works are fulfilled by the coming of Mia in the form of seasons. So it is
described in the AV- kalena sarva nandantyagatena praja imah (AV XIX.53.7).

So Mia is called the sustainer or instigator of the universe. All the universe
is moving through time. It gives the duration of life to all living beings. So
kala is life. It is also said that time is the great healer. Anything which inflicts
pains and sorrows is neutralised by passage of time.

kala as the destroyer

Kala is also described as the destroyer. Kala mems-Mlayati naSayati
sarvabhutanlti Mlah. It leads to decay. So Mia is called the destroyer. In this
sense, it is used only once in AV i.e. iSah> is an attribute name of kala. The
word iSah> is derived from the root so antaMrmani and menaing is “syati
samharatlti sah”. In this manner Sayana described- The destroyer of all the
beings. Perhaps for this reason, Mia is called Mrtyu or Yama in the latter
period. In the BG(in the vision of the universal purusa) Krsna syas to Arjuna-
“I am time the Destroyer of beings-

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 kalo'smi lokaksayakrtpravrddho lokansamaharttumiha pravrttahl

rtepi tva ha bhavisyanti sarve ye'vasthitah pratyanikesu yodhah/r

(.BG 11.32)

Destruction is the first condition of progress inwardly, the man who does
not destroy his lower self formations, cannot rise to a greater existence outwardly
also, the nation or community or race which shrinks too long from destroying
and replacing its past forms of life, is itself destroyed, rots and perishes and
out of its debris other nations, communities and races are formed. By destruction
of the old giant occupant man made himself a place upon earth. By destruction
of the Titans the God maintain the continutity of the divine Law in the cosmos.
So the time spirit does not destroy for the sake of destruction, but to make the
ways clear in the cyclic process for a greater rule and a progressing manifestation,
rajyam samrddham. In the vanaparva of Mbh kala is also described as a
destroyer in the discourse of Yaksa and Yudhisthira-

asmin mahamohamaye katahe suryagnina ratridivendhanena /

masartudarvlparighattanena, bhutani kalah pacatlti varttaU
{Mbh. Vanaparva 313.118)

Yudhisthira says-This world full of ignorance is like a pan. The sun is fire,
the days and nights are fuel. The months and the seasons constitute the wooden
ladle. Time is the cook that is cooking all creatures in that pan(with such aids);
Here kala or time is described as the destroyer. In the Malt. Up. time is exalted
as the Brahman, the highest principle, the source of all, “Time cooks all things
in the great self. He who knows in what the time is cooked(dissolved)”, he is
the knower of veda”. In vakyapadlyam of kalasamuddeia it is also described
by Bhartrhan-
utpattau ca sthitau caiva vinaie capi tadvatam/
nimittam kalamevahurvibhaktenatmana sthitam //(III.9.3)

[146]
 Kala is the first and main cause of the whole creation, existence and
destruction of all living substances. All things appear in time. As per example
some flowers bloom in the autumn, some are in the rainy season etc. So kala
is called the creator of all. Yaska in his Niruktam, enumerates six modifications
of existence which has time as the basis. The six vikaras are jayate, asti,
viparinamate, vardhate, apaksiyate and vina&yati. All these stages in the life of
any object are enacted in the lap of Kala only. In this manner kala is established
as the main cause of existence and destruction of things.
In the AV, kala represents a monotheistic conception. Eternal kala is
the back-ground of all things and events in the Universe. Kala is regarded
either as Brahman or as Jlvatma or as the power of Brahman. It is also regarded
as one all-pervading and eternal. Owing to limiting adjuncts in the form of
motions of sun, it appears to be manifold such as moments, days, months etc.
It is the impersonal form of time that is equated with Brahman, possessed of
all powers create. Therefore, eternal time is the power behind the whole
Universe. The principle of becoming is embodied in the concept of kala. No
activity, no change, no transformation is possible without kala. Becoming or
change is a series of movements in a given phenomena in infinite time. The
concept of mind225 exists in time only, because we know the mind by the
changes in our thought etc. and all changing entities exist in time only. The
understanding and realization of time will practically help the mankind to view
the world in a much wider prospective through which he can get rid of the
mundane sorrows and sufferings. Time may pass. But the time as the eternal
entity and the philosophy behind the time as realised by the Atharvanic seer
has got eternal significance.

225. AV XIX .53.7

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