Brthrhari and Sabda-Brahman
There would be, a discussion on evidences based in days coming
through, for which Sabda, (sound) Sabda-brahman are the constituents. And
that aspect is an important aspect in deciding the APAURASHYA VEDAM issue.
So in this Brthrhari theory of Sabda is being discussed wherein Maxmuller
like writers did a lot of errors in the conclusions as well as interpreted
the Rig Veda according to their convenience to drag the issue
interpolations etc; such bad conclusions were mere their intentions to
malign the Veda and bring it on par or far below their Religion where they
totally failed; most write ups on the Bible against the dogmatic theories
spoken there, were written only by the west authors like Richard Dawkins,
Dennett, Christopher Hitchens and many more. Thus, the value of our
scriptures are enhanced from the superfluous to in depth meanings of Vedic
verses apart from other Vedangas etc.
According to Bhartrhari, Sabda Brahman is the ultimate ground of all
existence; and, the Sabda tattva is the first principle of the universe.
The Vakyapadiya is a Sanskrit treatise {AND WIKIPEDIA IS THE OUT COME FROM
BIRTRHARI BOOK} on linguistics and philosophy of language, authored by the
ancient Indian grammarian and philosopher Bhartrihari. It is considered a
foundational text in the field of Indian philosophy and linguistics. The
Vakyapadiya is divided into three main sections (kāṇḍa): Brahma-kāṇḍa,
Vākya-kāṇḍa, and Pada-kāṇḍa. Vakya padia Sanskrit Show all For Bhartrhari,
Vac or speech is the means to all knowledge and is the essence of
consciousness. He regards speech as the verbal expression of a thought that
arises in a person’s consciousness. If there is no consciousness, he
argues, there would be no speech. Speech (Vac) is indeed an outward form
(Vargupta) of consciousness (chetana or Samjna). Thus, Vac is the word
principle that gives expression to the latent or un-manifest thoughts,
feelings and impulses. And at the same time, for Bhartrhari, all forms of
awareness imply the presence of words. That is to say; language is an
integral part of our consciousness. At a metaphysical level, Bhartrhari
conceives the ultimate Reality as One-without–a second (Ekam Eva). It is of
the nature of the Word (Sabda eva tattvam) and from it are manifested all
objects (including speech) and the whole of existence. [Bhartrhari was a
monist (Advaita) philosopher; and, he explained everything in terms of his
metaphysical view point. Thus, at the top of the language hierarchy there
is only one indivisible reality present; and that transforms into many.]
According to Bhartrhari, the language we speak is the medium of expression
of the Ultimate Reality communicated through meaning-bearing words. It
leads us across the external appearances and diversities to the core of the
Reality which is the source and the underlying unity beneath everything.
Here, the Real is the luminous Truth which needs to be rediscovered by
every speaker. The Real breaks forth (spota) through the medium of speech
(Sabda). And, Sabda is not mere means to the Reality, but it is the very
Truth and Reality (Shabda-Brahman). In the Vritti accompanying the main
text of the Vakyapadiya (1.14), Bhartrhari describes and offers
explanations on the process of evolution or transformation (Vivarta) of the
thought arising in one’s mind into audible speech. According to Bhartrhari,
the process of transformation of a thought or an impulse arising in ones
consciousness into a cognizable, explicit speech resembles the evolution of
the Universe from the un-manifest (Avyakta) to the manifest (Vyakta)
material world. Bhartrhari explains; at first, the intention (iccha) exists
in the mind of the speaker as a unity or Sphota. In the process of giving
an outward form to that impulse or thought, he produces a series of
different sounds in a sequence where one sound follows its previous one. It
might appear as though those word sounds are separated in time and space.
But they are indeed part and parcel of one and the same single entity – the
sentence which puts out, in full, the intention of the speaker. The
communication of a sentence and its meaning is not complete until its last
word is uttered. Thus, though the word-sounds reach the listener in a
sequence, eventually they all merge into one; and, are grasped by the
listener as a single unit. The same Sphota which originated in speaker’s
mind re-manifests in listener’s mind, conveying the intended meaning. Such
process of unfolding of speech (Vac) is said to take place, at least, in
two stages. The first one is the thought that flashes and takes a form
within. And, the other is that which comes out as audible speech riding the
vehicle of words and sentences; attempting to transport the idea that arose
within. The former is intuition (Prathibha) the flash of insightthat
springs up; and, the latter is the effort that is exerted, both internally
and externally, to put it out. According to Bhartrhari, the process of
manifestation or transformation of the speech principle (Sabda tattva) or
the latent, unspoken form of thought, into explicit audible speech can be
said to be spread over three stages, Viz. Pashyanti, Madhyamā and
Vaikhari. Bhartrhari explains that Vak or any sort of communication passes
through these three stages whenever one speaks or gives expression to it in
any other form. Sabda which is at first quite internal is [Hearing, of
course, operates in the reverse gradually externalized for the purpose of
utterance. direction] [While Bhartrhari regards the levels of speech
as three (Pashyanti, Madhyamā and Vaikhari), Abhinavagupta enumerates four
levels (Para, Pashyanti, Madhyamā and Vaikhari). Bhartrhari does not
specifically name Para, pure consciousness, as the source of all speech.
However, some scholars have tried to reconcile that seeming difference
between the stance of the two scholars by explaining that Bhartrhari’s
concept of the speech-principle Sabda-tattva or SabdaBrahman the
fundamental basis of the all existence and of speech, virtually equates to
the concept of Para Vac, the Supreme Consciousness, as expounded by
Abhinavagupta. According to the explanations provided by Bhartrhari: The
latent, unspoken thought that instinctively springs up and which is
visualised, within one’s self, is called Pashyanti Vak (thought
visualized). The Vrtti on Vakyapadiya (1.14) presents Pashyanti as a form
of Supreme Reality, Sabda-Brahman. And, Pashyanti again is identified with
Prathibha, the flash of insight. The Pashyanti Vak thereafter transforms
into Madhyamā, the intermediate stage. It is an intellectual process,
involving thought (Buddhi), during which the speaker looks for and selects
appropriate words, phrases, and their sequence, which are capable of
conveying his intention, clearly. And, Pashyanti Vak, thereafter, when it
comes out of the speaker’s mouth as sequenced and verbalized speech-form is
called the Vaikhari Vak. It is the final stage at which ones’ thought or
intention is put out explicitly through uttered words and sentences. Thus,
Vaikhari is the fully embodied stage of everyday speech. Thus, the
transformation of a thought into spoken-words involves two kinds of
efforts: the internal process (abhyantara prayatna) and the external effort
(bahya prayatna). The former is classified into two kinds (Pashyanti and
Madhyamā), while the latter (the external) is said to be of eleven kinds.
And, of the three levels or stages of speech, Pashyanti which is identified
with Prathibha (intuition) and Madhyamā identified with intellectual
process (Buddhi) are regarded as subtle or internal forms of Vac; while
Vaikhari is its overt manifested gross form. These three forms, in turn,
are identified with Sphota, Prakrta dhvani and vaikrta dhvani. Let’s look
at these three forms of Vac in a little more detail Pashyanti Bhartrhari
takes a metaphysical view of Sabda, the speech-principle (Sabda tattva). He
compares the transformation of Sabda, in three stages, with the
manifestation of the Universe. The Vrtti on Vakyapadiya (1.14) presents
Pashyanti as the Supreme Reality, Sabda-Brahman, which is identified with
Prathibha, intuitive cognition or the first flash of understanding. The
first stage in the transformation of a thought or an impulse into speech is
the Pashyanti (thought visualized). It is a pre-verbal or potential stage.
In this stage, the latent, unspoken thought that instinctively springs up
is visualised within one’s self. The Pashyanti, which also suggests the
visual image of the word, is indivisible and without inner sequence; in the
sense, that the origin and destination of speech are one. Here, the latent
word (Sabda) and its intention or meaning (Artha) co-exist; and, is fused
together without any differentiation. That is to say; intention is
instinctive and immediate; and, it does not involve stages such as:
analysis, speculation, drawing inferences and so on. At the level of
Pashyanti Vak, there is no distinction between word and meaning. And, there
is also no temporal sequence. In other words; Pashyanti is the direct
experience of Vakya-sphota, of the meaning as whole of what is
intended. In Pashyanti state, Sabda is in an unmanifested state. Yet, at
the stage of Pashyanti, there is a kind of hidden impulse or a desire
(iccha) for an expression. That instinct or urge is indeed an experience;
and, it is said to prompt or motivate the formation of the Pashyanti vision.
It is an intention to convey a certain meaning. Therefore, Vac or the
‘internal speech’ or ‘thought’, at this stage, stands for what is intended
to be conveyed; it is the first ‘vision’ of what is yet to appear. Bhartrhari
employs the simile of the yolk of the peachen’s egg which is about to
hatch. Before the hatching of the egg, all the flecked colours of the
peacock lie dormant in potential state in the yolk of the egg. Madhyamā The
Pashyanti Vak thereafter transforms into an internal (antahs-amnivesini),
subtle (sukshma) intellectual process (Jnana), the level of thought
(buddhi-matropadana), during which the speaker becomes aware (parigrihita)
of the word as it arises and takes a form within him.
Madhyama tu antahs-amnivesini parigrihita-krameva buddhi-matro padana
sukshma prana-vrtti anugata
As that cognition crops up and takes a shape within, he grasps it. Here,
one looks for and identifies appropriate words, phrases, and their
sequence, which are capable of conveying ones’ intention, clearly. As Prof.
Matilal puts it: “In other words, he recognizes the verbal parts, which he
is about to verbalize either to himself or to another as distant and
separable from the Artha or thought.” That sequence of thoughts results in
definite and clear array of words. This is the intermediate stage The
Madhyamā vak, a sequenced but a pre-vocal thought –described as the voice
of silence; perhaps best understood as internal speaking. Here, there is no
perceptible sound (Nada).
The Madhyamā vak is in an inaudible wave or vibratory (spandana)
form. Thus, Madhyamā is the stage at which the initial idea or intention is
transformed into series of words, as conceived by the mind, before they are
actually put out. It may even be regarded as introspection or as a sort
of internal dialogue. All the parts of speech that are linguistically
relevant are present here in a latent form. At this stage, which
corresponds to Prakrta-dhvani, the word and the meaning are still distinct;
and the word order is present. Therefore, temporal sequence may also be
present. Vaikhari And, the Madhyamā, when it is put out explicitly through
uttered words and sentences; and, when it comes out of the speaker’s mouth
in sequenced and verbalized speech-form, set in motion according to
his/her will, is called Vaikhari Vak. For the purpose of putting out the
Vaikhari Vac, the speaker employs a sentence comprising words uttered in a
sequence. The word itself comprises letters or syllables (varnas) that
follow one after the other in space and time. Thus, the Vaikhari is the act
(kriya) of articulated speech, which, as sound waves, reaches the ears of
the listener and then on to her/his intellect. It gives expression to the
subtler forms of vac. The Vaikhari is the physical or gross form of the
subtle thought or is the outward expression of the intention of the
speaker. And, when it emerges as the spoken-word, it is the one that is
heard and apprehended by the listener, in a flash of understanding
(Sphota). The spoken word comes out of one’s mouth, no doubt. However, it
needs the assistance of breath and of several body parts in order to
manifest itself (Vikhara literally means body; and, Vaikhari is that which
employs bodily organs). When a person wills to express a thought orally,
the air (Prana) inside his body spurs and moves up. Sabda or the Vac
(speech or utterance) then manifests through Dhvani (sound patterns), with
the assistance of appropriate organs. In this process, the head, throat,
tongue, palate, teeth, lips, nose, root of the tongue and bosom are said to
be the eight places which assist the sounds of the letters to become
audible and explicit. Vaikharī represents the power of action Kriyāśakti.
This is the plane at which the Vac gains a bodily- form and expression; and
the intent of the speaker is transported to the listener. Until this final
stage, the word is still a mental (iccha) or an intellectual (jnana) event.
Now, the articulated word comes out in succession; and, gives substance and
forms to one’s thoughts. VaikharI is the final stage of communication,
where the word is externalized and rendered into audible sounds (prākṛta
dhvani). The chief characteristic of Vaikhari Vak is that it has a fully
developed temporal sequence. At this level, the speaker’s individual
peculiarities (such as accent, voice modulation etc) are present, along
with relevant parts of speech. Bhartrhari makes a distinction between Sabda
and Dhvani. The former is the ‘Real word’; while the latter is the ‘sound’
produced by the speaker in order to give expression to Sabda. The purpose
of the Dhvani, the articulated sound, is to give expression to, and to act
as a vehicle for Sabda which is the intent of the speaker. One’s mode of
speaking, accent, stress and speed etc (Dhvani) might vary; but, the
speech-content or intention (Sabda) remains unaltered. Thus, while Dhvani
is variable; Sabda, the underlying cause of the Dhvani, is not. Bhartrhari
again classifies Dhvani into two sorts – Prakrta Dhvani and Vaikrta Dhvani
– (primary or natural sounds and derived or transformed sounds). The
following verse in the Vakyapadiya (1.78) defining the two types of Dhvanis
, is said to have been inspired by a similar statement in Vyadi’s famous
work Samgraha : The former, the Prakrta Dhvani, is said to be the natural
(prakrti) way of speaking where the sequences, durations and other
qualities-as specified by the particular language system- are maintained,
as expected. The long sounds (dirga) would be long, of the required length;
the short (hraswa) vowels would be short; and, the extra-long (pluta)
would be elongated and so on. It is normal way of speaking by one who
knows the language. But, when one brings in her/his own mannerisms or
individual peculiarities into her/his utterance, such way of speaking is
called Vaikrta (modified or not-natural). Here, what is expected to be
pronounced in normal speed (Madhyamā) or slowly (Vilambita) might be
uttered rapidly (Druta); and so on. The differences in the ‘speed of
utterance’ (vrttibheda)might also be quite the other way. The other
features such as accent, stress, pronunciation intonation, tempo, pitch etc
might also differ from the natural. It is the way of speaking by one who
doesn’t know the language. Though, in either case, one’s manner of speaking
might vary, the substance or what is intended to be conveyed (sphota) is
the same. Earlier, Katyayana had also said that the letters (varna) are
fixed though the style or diction (vrtti) might vary, depending upon the
habits of the speaker (avasthita varna vaktus cira-cira-vacanad vrattayo
visisyante )
Now on the basis of the discussion above, the different approaches
against the Hindu scriptures as well as how the Vedas are so divine can be
distinguished.
D.5. The Sabda-brahman, the Drashtā Ṛṣis and, ‘Bhartrhari’s theory’
D.5.1. To my knowledge, the emergence of Pashyanti from Para can
occasionally be noted in a very few people provided one knows how to
identify it. It is more easily though not often observed as speech/ writing
in some individuals in states of Samadhi. Very rarely, but if a patient has
a Drashtā’s ability to ‘see/hear’ as also other equally unusual
facilitating provisos, it can be physically observed under some medical
conditions. Cut off from the ‘thinking mind’ (the ‘Madhyamā’) as s/he
temporarily/ otherwise is unable to use the thinking/ processing parts of
the brain, s/he can at a pinch ‘see’/’hear’ thoughts arise as Sabda-brahman and
reveal themselves as vaikharI as s/he writes/talks ‘spontaneously’. It is
likely that there are other conditions under which this phenomenon can be
observed/ heard.
D.5.2. Since we know the hymns were written by Ṛṣis who were Drashtās, it
follows that the Pashyanti of ‘Bhartrhari’s theory’ would be unmediated by
subconscious/ unconscious thoughts, emotions and desires and at least
initially, much or all of the thinking mind {the Madhyamā}. Which confirms
that in their case the ‘Para’ source was the Brahman itself. To check: we
know that multiple hymns were written by the same Rsi. Obviously somewhat
like Ramanujan’s access to his goddess, the Kavi who was both Drashtā and
Rsi, was able to easily and regularly access/ receive from the
Sabda-brahman. Which means at least the seed content of the speech was
Sabda-brahman. It is likely this is the reason (or at least, a major
reason) for occasional reference to the Vedas as Sabda.
D.5.3. Note: Bhartrhari theory as delineated by Kazanas mentions Para as
the source for Pashyanti [vii]. Kazanas’ presentation fails to factor in
that Para means ‘beyond’ or ‘on the further side’ of Pashyanti. Thus, it
allows for subconscious emotions/drives in an individual’s writing/ speech.
It is only when the theory is applied to the writing/speech of a Rsi that
the Brahman may be the Para. This in turn suggests that Kazanas has again
got his Applied Sanskrit wrong/ deliberately attempted to imply a flaw that
does not exist/ is just too confused.
E. Paurusheyatva, Apaurusheyatva, Anityatva and Nityatva in the Vedas
E.1. As has been pointed out earlier Kazanas is right in that the Vedas
have paurusheya content, his quotation from the Vedas implies it. An
unconnected though more conclusive example than the one Kazanas gives, is
observed in Shrikant Talageri’s post in Rajiv Malhotra Discussion Group:
16th June 2018, wherein we learn that:
“Spoked wheels are found only in the New Books of the Rigveda (Books
1,5,8-10) and completely missing in the Old Books (2-4,6-7) during which
period Rigvedic geography is basically restricted to Haryana and the Ganga
area of western U.P.!” Very obviously the geographical description and
prevalence of spoked wheels found in that area at that time and enunciated
in the referenced passages from the Vedas, is paurusheya. But a cursory
glance through the hymns in which they are mentioned clarifies that the
obvious has been used to elucidate/illuminate matters that are
time/space/people – independent, i.e., ‘eternal’, ‘universal,’ truths –
nitya.
{KR A doubtful unclear about editions old and new; suppose in shruti
practice it was left out by memory in the old edition, evidence is not
strong by mere comparison}
E.2. It is likely that there are hymns wherein some aspects were heard
while others were seen/ experienced and later enunciated or elucidated,
that many contain some paurusheya elements along with their apaurusheya
content. It is also possible that there are some which are totally
paurusheya including possible interpolations especially in the Atharva Veda
Samhitā. The ‘native beliefs’ relate to the eternality of the verities in
the Vedas and a recognition that many/most of these are directly/
essentially Sabdabrahman. Most ‘natives’ do not claim to know let alone
understand details within the Vedas but even if they did, disentangling the
admixture of origins is of no significance to their purpose and so was/is
considered unimportant and ignored – those who need SD related information
and know how to consult them will do so and find their answers.
{kR again it is all preponderances but may not be any probability as
additional evidences are lacking; absence of evidence and available
evidence may not be possible for the true deduction}
F.1. The Root of the Problem
F.1 The style, tone and contents of Kazanas’ paper strongly suggest that it
is based on a priori assumptions for which ‘proofs’ were strung together.
In all likelihood there were a number of them, but the most immediate one
is very likely, directly/ indirectly, related to the following:
“In no country, I believe, has the theory of revelation been so minutely
elaborated as in India. The name for revelation in Sanskrit is shruti,
which means hearing; and this title distinguished the Vedic hymns and…..
which however sacred and authoritative to the Hindu mind, are admitted to
have been composed by human authors.
But let me state at once that there is nothing in the hymns themselves to
warrant such extravagant theories. In many a hymn, the author says plainly
that he or his friends made it to please the gods; that he made it, as a
carpenter makes a chariot (Rv 1.130.6; 5.2.11), or like a beautiful vesture
(Rv 5.29.15); that he fashioned it in his heart and kept it in his mind (Rv
1.171.2)” . (emphasis added)[viii]
Rig Veda 1.130.6
इमां ते वाचं वसूयन्त आयवो रथं न धीरः स्वपा अतक्षिषुः सुम्नाय त्वामतक्षिषुः ।
शुम्भन्तो जेन्यं यथा वाजेषु विप्र वाजिनम् । अत्यमिव शवसे सातये धना विश्वा
धनानि सातये ॥
imāṃ te vācaṃ vasūyanta āyavo rathaṃ na dhīraḥ svapā atakṣiṣuḥ sumnāya tvām
atakṣiṣuḥ | śumbhanto jenyaṃ yathā vājeṣu vipra vājinam | atyam iva śavase
sātaye dhanā viśvā dhanāni sātaye ||
“*Men who are desirous of wealth* (VASUYANTHA) have recited this your
praise, as a resolute and provident man (prepares) a chariot (for a
journey); they have propitiated you for their good; glorifying you, sage
Indra, as impetuous in conflicts, they have praised you (as men praise) a
conqueror. We praise you for (the acquisition of) strength, wealth, and
every kind of affluence; as (they command) a courser (for his good
qualities) in battle.”
Details:
Ṛṣi (sage/seer): parucchepo daivodāsiḥ [parucchepa daivodāsi];
Devatā (deity/subject-matter): indra:;
KR: Observations are bad; it is against the Indra who was also equated to
a Brahmam; and people who desired wealth, Kamya -karma used this verse to
raise for gains. So the verse existed may be only as apaurusheya but having
seen and heard the Rsi PARUCCHEEPO rendered it here which is used as a bait
to GOD for wealth and many may sincerely pray also.
Rig Veda 5.2.11
“This praise have I, a devout worshipper*, composed* for you, (Agni), who
are born with many (faculties), as a steady dexterous (artisan fabricates)
a car; if, divine Agni, you approve of it, then may we obtain abundant
flowing water.”
Ṛṣi (sage/seer): kumāra ātreyo vṛṣo vā jāra ubhau vā [kumāra ātreya vṛṣa vā
jāra ubhau vā];
Devatā (deity/subject-matter): agniḥ ;
ए॒तम् । ते॒ । स्तोम॑म् । तु॒वि॒ऽजा॒त॒ । विप्रः॑ । रथ॑म् । न । धीरः॑ ।
सु॒ऽअपाः॑ । अ॒त॒क्ष॒म् । यदि॑ । इत् । अ॒ग्ने॒ । प्रति॑ । त्वम् । दे॒व॒ ।
हर्याः॑ । स्वः॑ऽवतीः । अ॒पः । ए॒न॒ । ज॒ये॒म॒ ॥
etam | te | stomam | tuvi-jāta | vipraḥ | ratham | na | dhīraḥ | su-apāḥ |
atakṣam | yadi | it | agne | prati | tvam | deva | haryāḥ | svaḥ-vatīḥ |
apaḥ | ena | jayema
etaṃ < etam < etad“this; he,she,it (pers. pron.); etad [word].”
te < tvad“you.”
stomaṃ < stomam < stoma“hymn; Stoma; stoma [word].”
tuvijāta < tuvi“mighty; very; diverse; much(a); many.”
tuvijāta < jāta < jan“become; originate; be born; transform; happen;
result; grow; beget; produce; create; conceive; separate; cause; give
birth; grow; produce; generate; be; become; arise; come on.”
vipro < vipraḥ < vipra“Brahmin; poet; singer; priest; guru; Vipra.”
rathaṃ < ratham < ratha“chariot; warrior; ratha [word]; Dalbergia
oojeinensis; rattan.”
na“not; like; no; na [word].”
dhīraḥ < dhīra“expert; wise; intelligent; versed; adept.”
svapā < su“very; well; good; nicely; beautiful; su; early; quite.”
svapā < apāḥ < apas“work; deed.”
atakṣam < takṣ“produce; shape; fashion; chisel; invent.”
yadīd < yadi“if; in case.”
yadīd < id“indeed; assuredly; entirely.”
agne < agni“fire; Agni; sacrificial fire; digestion; cautery; Plumbago
zeylanica; fire; vahni; agni [word]; agnikarman; gold; three; jāraṇa; pyre;
fireplace; heating.”
prati“towards; per; regarding; respectively; according to; until.”
tvaṃ < tvam < tva“you.”
deva“Deva; Hindu deity; king; deity; Indra; deva [word]; God; Jina;
Viśvedevās; mercury; natural phenomenon; gambling.”
haryāḥ < hary“delight.”
svarvatīr < svarvatīḥ < svarvat“bright; bright.”
apa < apaḥ < apwater; body of water; water; ap [word]; juice; jala.”
enā < idam“this; he,she,it (pers. pron.); here.”
jayema < ji“overcome; cure; win; conquer; control; win; succeed; remove;
beat; govern; surpass; suppress.”
KR Nowhere above any word/words used as to mean composing jata is not
creation but self-born. TUVI-JATA
tuvibādha mfn. oppressing many (indra-), 32, 6
tuvibrahman (v/i--). mfn. very devoted
tuvideṣṇa (v/i--) mfn. giving much (indra-),
tuvidyumna mfn. very glorious, powerful (indra-, agni-, the marut-s),
tuvigra mfn. swallowing much (agni
tuvigra mfn. (according to to some ="roaring loud", from 2. grī-).
tuvigrābha mfn. seizing powerfully (indra
tuvigri mfn. equals -gr/a- (indra
tuvigrīva mfn. powerful-necked
tuvijāta mfn. of powerful nature (indra-, varuṇa-, etc.),
Hence wanton abuse of vedic scriptures are undertaken as seen even from the
translations of the west itself.
Rig Veda 5.29.15
“Most mighty Indra, be plural ased to accept the prayers which we are about
to offer, and the present praises which we repeat; firm, doing pious acts,
and desirous of wealth; I have fabricated acceptable and pious works like
(rich) garments, and like a chariot.”
Commentary by Sāyaṇa: Ṛgveda-bhāṣya
Like garments and like a chariot: praises and hymns, are compared to
gaments, as being fit to be received as a respectful present, upasaṃhāravad
grāhyāni; the same are compared to a chariot, as the means of conveying
Indra and the gods to sacrificesDetails:
Ṛṣi (sage/seer): gaurivītiḥ śāktyaḥ [gaurivīti śāktya];
Devatā (deity/subject-matter): indra:;
इन्द्र । ब्रह्म । क्रियमाणा । जुषस्व । या । ते । शविष्ठ । नव्याः । अकर्म ।
वस्त्राइव । भद्रा । सुकृता । वसुयुः । रथम् । न । धीरः । सुअपाः । अतक्षम् ॥
indra | brahma | kriyamāṇā | juṣasva | yā | te | śaviṣṭha | navyāḥ | akarma
| vastrāiva | bhadrā | su-kṛtā | vasu-yuḥ | ratham | na | dhīraḥ | su-apāḥ
| atakṣam
kriyamāṇā < kṛ“make; perform; cause; produce; shape; construct; do; put;
fill into; use; fuel; transform; bore; act; write; create; prepare;
administer; dig; prepare; treat; take effect; add; trace; put on; process;
treat; heed; hire; act; produce; assume; eat; ignite; chop; treat; obey;
manufacture; appoint; evacuate; choose; understand; insert; happen;
envelop; weigh; observe; practice; lend; bring; duplicate; plant; kṛ;
concentrate; mix; knot; join; take; provide; utter; compose.”
juṣasva < juṣ“enjoy; endow; possess; frequent; accompany; induce; consume;
approve; affect; attend; befit; blend; contract.”
atakṣam < takṣ“produce; shape; fashion; chisel; invent.”
KR No where there is any usage of the word meaning I composed it; but
seen are the words KRYAMANA PERFORMANCE . I DO it because; I do it as if a
fabric is fabricated or a chariot being created by work; so by prayer I
seek the kamya-karma.
Rig Veda 1.171.2
“This praise, accompanied by offerings, Maruts, is for you, offered from
the heart; accept it, divinities, with favour, and come with willing minds
(to receive) these (laudations), for you are the augmenters of sacrificial
food.”
एषः । वः । स्तोमः । मरुतः । नमस्वान् । हृदा । तष्टः । मनसा । धायि । देवाः ।
उप । ईम् । आ । यात । मनसा । जुषाणाः । यूयम् । हि । स्थ । नमसः । इत् । वृधासः
॥
eṣaḥ | vaḥ | stomaḥ | marutaḥ | namasvān | hṛdā | taṣṭaḥ | manasā | dhāyi |
devāḥ | upa | īm | ā | yāta | manasā | juṣāṇāḥ | yūyam | hi | stha |
namasaḥ | it | vṛdhāsaḥ
KR Again in this verse also it is said I pray but never as
self-composed.
xxxxxxxxxxxxxx
F.2. Max Mueller evidently did not understand what he had read. For to
those who do, it is clear that the quoted Drashtā Ŗşis, “crafted”, i.e.,
built on and fleshed out idea(s) or concepts which they couldn’t ascribe to
their own thinking minds/ emotions, etc., so they informed us that they
“made it to please the gods”. Since these hymns are communications, the
main point conveyed is that they are not taking false credit for the core
idea(s)/ concept(s). They have honestly acknowledged that their
contribution lies in building the bridges between those who hear the hymns
and the original Source. As the aim is to optimally simplify the learning
process and this Ŗşi’s role that of a strong ‘step down transformer’, he
uses the term ‘crafted’ with an appropriate analogy to emphasize that it’s
been a difficult, slow, laborious process that required a lot of care
G. The Heart of the Matter
G.1. Though it requires an in-depth survey into the output of leading
Western academics – or possibly research with requisite input from
experienced psychologists, read together: –
– Max Mueller’s articulation of the presence of a “theory of
revelation” for books “which however sacred and authoritative to the Hindu
mind” do not sustain the ‘belief’; and
– Kazanas’ work wherein he a. Reduces Sabdabrahman to Sabda,
“(the)Word, the Absolute”, b. Interpolates the word ‘Absolute’ when quoting
from the Bṛhadāraṇyaka Upanishad and c. Seems intent on convincing the
reader, i.e., uses an emotional approach rather than the intellectual one
normally associated with good scholarship;
strongly suggest that, having used the Bible as their template to
understand SD literature, Western academics are consciously/ subconsciously
fighting ‘the native belief’ that there can be ‘revelation’ outside of the
Bible. For Max Mueller the descriptor ‘Shruti’ for Vedas was repugnant
enough. And it is possible that this holds true for most of those who
follow ‘the Book’, i.e.Jews, Christians and Muslims. With over 200 Ŗşis
including over 25 women in the Samhitas alone, ‘the native’ insistence that
the Vedas are nitya/apaurusheya was/ is probably more than flesh and blood
can take.
G.1.1. The word ‘Sabda’ occasionally used lieu of ‘Vedas’
TO BE CONTD K RAJARAM IRS 12425
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