>9

HYMNS
FROM THE RIG-VED\

.t

Translation by jean Le Mee Photosraphy by Ingbert Gruttner

i

HYMNS FROM THE RIG-VEDA

PhotogFciphy by Ingbert Griittner
ALFRED A. KNOPF NEW YORK 1975

HYMNS
%
FROM THE RIG-VEDA
Translation and Sanskrit Calligraphy by Jean Le Mee
This is a Borzoi Book published by Alfred A. Knopf, Inc.

Copyright © I 975 by |ean Le Mee

Photographs copyright © 1975 by Ingbert Gruttner

All rights reserved under International and Pan-American Copyright Conventions.

Published in the United States by Alfred A. Knopf. Inc.. New York,
and simultaneously in Canada by Random House of Canada Limited, Toronto.

Distributed by Random House. Inc.. New York.

Library of Congress Cataloging in Publication Data

Vedas. Rgveda. English. Selections.

Hymns from the Rig-Veda.

I. Le Mee. Jean Marie Alexandre. [Date] II. Title.

PK30l6Ai2E5 1975 294'. 12 75-9541

ISBN 0-394-49354-0 ISBN 0-394-73055-0 pbk.

Manufactured in the United States of America

First Edition
 CONTENTS

Introduction ix

Invocation and Proclamation 3

Hymn of Origin rvxioo 9

Hymn of Creation rvxizq 19
Hymn of Man rvxoo 35
Hymn to the Dawn rvvii 77 69
Hymn to the Sun r v so
1 83
A Psalm of Vasishtha to the Lord of Lords rvvii so 1 1 1

Hymn of the Word of Knowledge r vx 7 1 1 29

Hymn of the Sound of Truth r vx 125 153
Hymn of the Thoughts of Men rvixuz 171

Hymn of Purification r vixoo 1 8

Hymn to Indra, the Embodied Spirit r vi 1 1 191

Hymn of the One Work r vx 1 9 1 209

f
f? ^ #7^-. ^^^^' Adoration to the Ancient Seers,
"'^: ^;%fiwT: Ih^ll The First Path Makers, rvxia.is
INTRODUCTION religious and philosophical thought of innumerable
peoples from rime immemorial?
The tradirion answers that the Veda itself is the
secret of the Veda. The foundarion stone that India
contributed to civilizarion, the Veda, is said to embody
the regularions, the laws of the universe cis "seen" by
gifted poets, prophets, or seers, the rishis. Set by them
in a special language to be "joyfully proclaimed for
future ages," it has come down to us through an elab-
Precious or durable materials— gold, silver, bronze, orate oral tradirion consciously designed to prevent
marble, onyx, or granite— have been used by most any distortion. Even today, had we no written record
ancient peoples in an attempt to immortalize their available, it would srill be possible to have access to
achievements. Not so, however, with the ancient the Veda as it existed when
was fixed three or
the text
Aryans. They turned to what may seem the most four thousand years ago! This supreme monument
volatile and insubstantial material of all — the spoken of an early religion which has left us with no archeo-
word — and out of this bubble of air fashioned a monu- logical remains, no church, no dogma, no founder, and

ment which more than thirty, perhaps forty, centuries virtually no history, forms the canon of the Hindu

later stands untouched by time or the elements. For scriptures, the core of which isacollecrion of over a

the Pyramids have been eroded by the desert wind, thousand hymns, more than ten thousand stanzas in

the marble broken by earthquakes, and the gold stolen all, known as the Rig-Veda.
by robbers, while the Veda remains, recited daily by an Hinduism, according to its own tradirion and belief,

unbroken chain of generations, traveling like a great is not a religion belonging to a particular people or
wave through the living substance of the mind. country but is what remains of an ancient system of
Whence this extraordinary strength and vitality? knowledge, the Sanatana Dharma which, , in another
Whence this power to nourish and give form to the age, was the inheritance of the whole of mankind. It
therefore sees itself as the holder of a tradition com- the "cycles," and form that they have
it is in this

mon to all men, encompassing ail that revelation and reached us. These texts had come down to Vyasa from
man's effort have produced in terms of knowledge. an oral tradition carried on by families of seers whose
Though Western scholarship inclines toward the names are still attached to the hymns. These names,
period extending between the fourteenth and tenth however, including Vyasa's and those of the other
centuries B.C. for the date of composition of these compilers, are for us mythical, ahistorical names, each
scriptures, the tradition emphasizes their revealed and more a description of the stage of realization of a par-
eternal character, insisting that the seers are express- ticular rishi than a biographical name. Whoever has
ing that which has always been, is here now, and ever this vision or performs this function is called by that
will be as long as this creation lasts. Tradition has it name as the tradition affirms it. Thus, according to the
that toward the beginning of the present age, the iron Bhagavata Purana (2.7.36), "Appearing age after age
age or kali yuga, about 3000 B.C., when the forces of with the True One (SatyavatT), Vyasa divides the Tree of
evil started gathering their momentum and the mem- Knowledge into parts." The collections of hymns were
ory of men began to fail, the great sage Vyasa was en- handed to Vedic schools for safekeeping throughout
trusted with the task of collecting the hymns. They the ages, and it is a remarkable fact that since the days
were compiled under his direction into four different preceding the ancient civilizations of Egypt and Baby-
samhitas or collections according to the nature of the lon,Athens and Rome, they have resounded daily,
hymns and the purpose of the compilation. Thus Vyasa ever clear, ever new, ever old, without the slightest
directed the sage Paila to gather hymns of prayer change. The Rig-Veda text we possess is that of the
and dedication to the Gods and these formed the Shakala school, from the name of the master, Shakalya.
Rjk-Samhitaor Rig-Veda. "Knowledge," "wisdom," The hymns and texts of the four samhitas are man-
"science," "vision" are some of the meanings implied tras or incantations grouped according to their use in

in the Sanskritword veda while a nk means a verse or

,
the ritual: the rik or verse collection, the yajus or collec-
a stanza. The compiler organized the various hymns or tion of sacrificial formulas, the saman or chant collec-
suktas, the "well-saids," into ten books or mandalas. tion, and the atharvan which , is chiefly composed of
 XI

magic spells. Each of the samhitas is the basis of a of the main U panishads no readable
, translation of the
"veda" which, besides the samhita comprises related
, Rig-Veda is available to the general public. All too
commentaries or treatises among which are often the scholarly translations, scattered and buried in

Brahmanas and U panishads The mystical. tradition, learned journals or anthologies, seem to make little

however, looks upon the Veda from another view- sense, even to the translator himself; Griffith's metrical
point and establishes only a triple distinction between version, now eighty-five years old, is dated, from both
them, based on the form of the mantras: metrical for the scholarly and the linguistic viewpoint. A reason
the rik, in prose for the yajus, chanted for the saman . for the lack is that the task of translating the Veda is an
These three forms are said to correspond to the nature exceedingly difficult one and, to quote Sri Aurobindo,
of the cosmos, conceived as a creation governed by a "borders upon an attempt at the impossible."
triple force where the yajus stands for the power of In translating poetry, not only ideas and images but
rest in the center, the rik for the principle of motion or also something of the rhythm and the music of the
expansion, and the saman for that of limitation or con- original should be carried through. When considering
traction. Under their mythological forms they are Brah- the Veda, however, we are confronted with a difficulty
ma, Indra, and Vishnu or, in their psychological equiv- of another order of magnitude altogether, due not
alents, the word of power and right action, the word only to the technicalities of its language, an archaic
of knowledge, and the word of peace. form of Sanskrit whose principles and usages are very
The fountainhead of Eastern thought for millennia, different from those of our own language, but also to
the Veda has left a lasting imprint on the West since its symbolic nature. This symbolism of the language is

the end of the eighteenth century, but more particu- not simply one of form, relying on images, parables,
larly during the last thirty years, pervading so much of and myths as other poetic or religious compositions
the Eastern philosophical and religious thought influ- do, but one of substance, based on its mantric charac-
encing Western society. ter. The language of the Rig-Veda is an extraordinary
It is therefore at first a matter of surprise to observe tool of unsurpassed flexibility and power of expres-
that though there exist some good English translations sion, richness, and versatility. Claimed as man - tra .
min -d-ins-tru-ment. whose rules are the rules of describe and govern the nature of phenomena from
thought, it is said to have the ability to re-create in the the spiritual level to the physical. This range of appli-
prepared hearer the experience of the poet, of the cability in the realm of nature paradoxically makes this
rishi. Thus, the word is not just a sound arbitrarily con- most artificial language into the most natural language,
nected with an object or event, but is, essentially, a the language of nature.
voice, a force producing an effect directly on the sub- One of the devices used by the Vedic poets to give
stance of being. It is a creative, living symbol. It pos- their language the kind of wide-ranging generality
sesses to the utnnost the power of any true and genu- that mathematics possesses to a degree is the full use
ine poetry or music, to create a resonance in the of the multisignificance of roots. Sanskrit is built in

subtler substance of being and to bring about in the such a way that virtually every word in the language
listener a fine attunement to the experience of the can be derived from a root, a monosyllabic sound unit
seer, poet, or composer. Worked out in great detail having a general significance in the sphere of action.
by later tantric schools, this view of language is implicit Its meaning is then narrowed down and specialized by
in the utterances of the Vedic seers and forms the ba- addition of affixes and by certain well-defined proc-
sis of their practice. esses applied to the root itself. The wide spectrum of
Sanskrit is a term meaning "perfected," "well- significance attached to a particular root reinforced by
made," "polished." It is the artificial language par the various modes of recitation gives a chordal effect
excellence patiently refined sound by sound, bearing
,
to nearly every verse, making such a language a per-
in all its details the imprint of conscious work, con- fect instrument for double and multiple entendre and
structed on the very principle of thought, of creation, endless possibilities for plays on words. The result is

in a fashion similar to that of mathematics but more poetry at its purest, filled with resonances. In these
flexible and wide-ranging in its applications. Embracing poems, nothing is left mere
to hazard or given for
all the levels of being, physical, emotional, intellectual, poetic effect, however. Everything is carefully worked
and spiritual, instead of the nearly exclusive intellec- out, engineered with the utmost care: "Like a cart-
tual component of mathematics, it is ideally suited to wright [at work] I have conceived this hymn," says
 XIII

Vishwamitra, the seer of Hymn 111.38. And a hymn is a the rishis, while the ideas and their truth are simply
collective endeavor, designed for the common wor- seen and heard by them.
ship of the "Men-of-the-Word." Each verse is a formu- From the nature of the language and its use it is

la, precisely measured, which carries the directions, therefore easy to conceive that there will be levels
the forces, and the illumination required for the work. upon levels of meaning to nearly every verse, depend-
Hence the importance of the meter and of the quality ing on the "level of being" or, perhaps more accurate-
of the sound to these engineers of the Divine. For the ly, the "spectrum of realization" of the listener. For

meter which governs the rhythms of the verse is sym- within this spectrum a number of points of view will be
bolic of the cosmic rhythm itself. There are three such possible, depending on the particular context. It is
basic meters which by combination give the seven common, for instance, in systems of traditional
meters representing the seven rhythms, the seven thought to take a threefold view of the universe, crea-
pranas governing the whole process of life. The tion being looked upon as having a physical, a subtle,
sounds that these rhythms articulate are the vibrations and a causal aspect; sometimes a sevenfold, a nine-
traveling through the four substances, the four levels fold, or even a twenty-onefold aspect is taken, de-

of being or of speech, from the absolute state, tran- pending on the purpose at hand. Each of these folds,
scendent, unaffected by anything, to the causal state, each of these layers, is a world, a loka, a viewpoint, in

where meanings are universal and undifferentiated, to or at which the words have a certain impact, res-
the mental state, where they are formed into separate onance, and meaning and therefore give rise to a
thoughts, and finally to the physical state of utterance, particular interpretation. So it is that we may have up
where they are heard by the ear. It is in the second to twenty-one versions of a given Vedic text though
stage, the causal, that the vision takes place; this is only one recension And so it is also that, de-
in hand!
where the mantra is perceived by the seer. With the pending on their philosophies, some will see in these
third stage, the mental, comes the rhythm, and with hymns a description of the physical forces of nature at
the fourth, the articulated sound itself. The arrange- work; some, the mental life of "primitive '
people;
ments of these articulated sounds are the creation of some, the spiritual journey of highly developed souls;
XIV

and yet others, some historical events told in a naive, speculative and philosophical thought of India— hence
mythical way or the statement of mathematical propo- the predominance of the hymns of the tenth mandala -
sitions. None of these interpretations is by nature on the obligation to present some typical hymns
partly

exclusive of any of the others. Ail that may be said is addressed to the most often celebrated gods of the
that some may not be quite so comprehensive as brahmanical pantheon — Agni, Soma, and Indra— and
others and, were the Veda would
limited to them, partly on the desire to show the wide range of tone
hardly justify four thousand years of constant work by and the variety of style of the ancient poets.
wise men to keep the record. In the samhita the
, hymns are generally grouped
Besides the symbolism of the language, a symbol- according to either the families of rishis who originat-
ism of structure may be shown to exist in the hymns, ed them or the gods being celebrated. For instance,
reinforcing and completing it. the fifth mandala is devoted to the hymns of the seers
All this to suggest to the reader an idea of the power of the house of Atri, whereas the entire ninth mandala
and complexity of the Rig-Vedic hymns and to make it comprises the hymns to Soma. The tenth mandala ,

evident that even with a lengthy commentary on each however, contains hymns by various rishis and devot-
hymn it is not possible to convey all the implications ed to different gods. The majority of these hymns are
that it evokes. The purpose in presenting the few of a speculative nature and, according to Western
hymns contained volume— less than one-
in this scholarship, are of a less ancient origin.
hundredth of the whole Rig-Veda— is simply to make In this hymns have been arranged in a
selection the
available a sampling of one of the major scriptures of natural sequence to make for connected reading, be-

mankind and to suggest something of its profundity ginning with the hymns of creation and proceeding
and splendor. But the translator is painfully aware that through the "nature" hymns to the Dawn and the Sun
this is like trying to convey the rich texture of a sym- to the hymns related to more abstract principles such
phony by hesitantly whistling its theme. as Knowledge and the Word, and concluding with the
The choice of the hymns has been dictated partly by last hymn of the samhita an invitation to peace and
,

their relative importance to later development of the harmony.

 XV

As previously pointed more than thirty cen-

out, Thus for the word go, which, among other things, may
turies have passed since the hymns were collated. In mean "cow," "milk," or "light," I have not hesitated to
that long period and in spite of many precautions, choose where other scholars have taken "cow,"
"light"

though the form has been impeccably kept, some keys though the word "cow" may give a coherent physical
have been lost, some meanings forgotten. The text image, if thought that the dominant meaning was
I

abounds in words of doubtful meanings on which either psychological or that the image created by
commentators and scholars have glossed for centu- using the word "light" was more in keeping with the
ries. Often the images are obscure because of a lack of general sense of the hymn and hence more compre-
clues— ritual, cultural, we
or psychological— for all hensible to the reader. In other words, I have tried to

know about the religion, society, or history of the men follow the spirit of the text as I understood it without
who composed this literature has to be gleaned from doing unnecessary violence to the images.
the hymns themselves. Furthermore, the poets appear Along the same lines, since the reader cannot be
to delight in speaking in riddles, in veiling their mean- expected to be familiar with Vedic mythology, I have
ings in metaphors, in using puns, as constant modes of translated all proper names, going back to their ety-

expression, whether to make their point more effec- mologies. One should remember, however, that sym-
tively or to hide it. bolic etymologies, as distinct from grammatical ones,
in this translation I have availed myself of the work of and often completely at variance with them in terms of
previous scholars, students, and masters in the field, meaning, are commonly used or implied in Sanskrit
particularly McDonnell, Griffith, Renou, Agrawala, philosophical and religious texts. Admittedly, transla-
Gonda, Coomaraswamy, and Aurobindo. The method tions of names present hosts of unsolvable problems
Ihave followed is simple: every single word has been of interpretation. I have always endeavored to choose
referred to its root and the meaning chosen has been a name consonant with the psychological import of
that which in my opinion conveyed most adequately the passage and in line with the epithets that have
the deepest sense of the passage I could construe been used traditionally for these gods. Thus, Varuna.
while maintaining the integrity of the poetic structure. the All-Enveloping One, is Lord of Lords, King of Kings.
XVI

Soma, the deified nectar, is the sacred potion but may one, the Sanskrit meter depends primarily on quantity
also refer to "Mind." Translating thesenames gives — that is, on syllabic duration— rather than on stress, as
more unity and helps clarify the general meaning of English does; also, the riks have a tonal accentuation
the text at a particular level of interpretation. which cannot be introduced into English without arti-
As for the form, I have adopted the meter of the ficiality. All this, naturally, conspires to distort the
original. When translating poetry, the translator is original rhythm in the translation. But the reader is

always in a dilemma: whether to follow the form of the nevertheless encouraged to read aloud and articulate
original or a form which suggests something of the clearly that he may hear an echo of the sounds that
original qualities but is native to the language of trans- were made some forty centuries ago when the ancient
lation. The choice made
I is premised on the belief ex- seers "came together, sang together, with their minds
pressed by the ancient singers themselves that the in harmony."
very sounds and rhythms of their poems are impor- Perhaps the deeper and ultimate hope of the trans-
tant, that these are part and parcel of their message. I lator is to persuade the reader, by showing him a pale
have therefore made a special effort to adhere to their reflection of the beauty and depth of the original, to

metrical form without impairing the natural flow of the take up himself the study of the "Language of the
English language. I have kept strictly to the same num- Gods" that he in turn may experience the wonder, the
ber of syllables per line, since their meters are syllabic, joy, and the knowledge which are within him but need

and not infrequently it has been possible to keep as the mantric impulse to be liberated.
well the place of the caesura, thus giving to the verse a The Rig-Veda is a glorious song of praise to the
similar rhythm. In some cases it has even been possible Gods, the cosmic powers at work in Nature and in

to match the sounds of the English syllables with the Man. Its hymns record the struggles, the battles, and
sounds of the corresponding Sanskrit syllables from victories, the wonder, the fears, the hopes, and the
the point of view either of articulation or of vocalic wisdom of the Ancient Path Makers. Glory be to Them!
color.However, there are obvious differences between
Vedic Sanskrit and English metrical possibilities. For — lean Le Mee
 3^ OM

SN w^ ^"^^ Here begins the collection of the RIg-Veda.

The most holy verse in the holy Rig-Veda, known as the GayatrTfrom the
form of the meter in which it is cast, the mantra presented on page four
has been used for millennia in daily worship and for initiation ceremo-
nies. "Seen" by the Rishi Vishwamitra, "the friend of all," the great king
who, through austerities, became a Brahmin, it is the great mantra of the
Sun, sustainer and impeller of all things in the solar creation, symbol of
the Divine Truth.
The mantra that follows the Invocation on page seven is attributed
to the seer Brihaspati, Lord of the Word. Taken from the Hymn of the
Gods, it sets out the purpose of the whole Rig-Veda.
 INVOCATION
AND PROCLAMATION
R.V.lll.62.10

HrM^(|4<"4 Let us bring our minds to rest in

^nrf"?^ ^]trT# I The glory of the Divine Truth.
k% ^ #: y^K^id^lholl May Truth inspire our reflection.
tl3»
m-m
 R.VX72.1 7

'tm\ ^ ^ i^ The origins of all the Gods

^ iit^ipT kq^W I We shall now joyfully proclaim
3^ i5ppWFTf For future ages to behold
IT: -qiRTf^ ^ hi When these verses are recited.
From the Will, the burning absolute Love, Truth arose and with it the
Ocean of Possibilities. Aghamarshana, who saw the splendor of creation
unfolding before his eyes, sings its glory in these three stanzas. Known
from the name of its seer as the "sin-effacing" hymn, it is still used by
Brahmins as a daily prayer.
 HYMN
OF ORIGIN
1 R.V.X. 1 90.

^ ^ ^ ^:mfe[^ The Law of Heaven and Truth were born

'

fiW s ^j'd i ^-iH I

Of conscious fervor set on fire.
^ ^i>^.jiiilH From this came stillness of the night,
?ri: w^ 3TO: Ihll From this the ocean with its waves.
 i'<fW^
Wf^i-

^
A
^ifS^

.*<*.-
R.V.X.190.2

^jjstK'j^Ktu From the ocean and its waves

4^?^ 3TjF77r I
Then the year was generated —
^^UNlW f^T^ Appointer of the days and nights,
feferfi^TOt^PI Ruler of all mortal beings.
 ^^^]
J
' ^'^
.^.:>«^,v«^
'^^-t'Tir '^•r?^-

^C »»

:'5:'#-*

S^'^
frc>«x

"• i*-
yif^i^^*-

-»•'*.;
^'^.,.
Vf**^

^f^=^'
R.V.X. 190.3

^^j|^'g;^4 \ifHT The Creator regulated

mjTO^Tf^TTTT'Trr I
Sun and moon in due succession,
k^ ^ iW The vault of Heaven and the Earth,
qtHft^wyr ^: 113 II
Aerial space and blessed light.
 .=#

'^^*''^'*^*^**^

.3^?^^ft5-"='

i22-«i- •^' •
"-^^ •^'*^^-v-- ••-<2»-r*-^-*c^*«:"%^^.
^•.^•ru?

Jf^'-^

>^^ .'• v^-K-

^^^:>5*^^^
-^/Vv i-^-r':^^
**-t?r^'v'^x

m . .M"->giT?>yv .J . A'.. . .A.A.;

kiOMB
Perhaps no other Vedic hymn equals indepth and majesty this famous
Hymn of Creation l<nown to tradition as the NasadTya SOI<ta, from its
opening words. Its seer, Prajapati Parameshthin, Supreme Lord of
Creatures, chants in the "triple-praise" meter his knowledge and his
wonder as he recalls his vision and in these seven immortal mantras —
seven like the days of creation — plants the seeds of Vedic metaphysics
and mathematics. For this hymn, besides being a cosmogony, is also a
beautiful meditation on the properties of numbers from one to nine and
zero. As the Vedanta philosophy was to develop it later in great detail,
and as other traditions also record, the process of creation can be seen
as ninefold, each step, each state of consciousness, being characterized
by the properties of a particular number. Thus, creation begins in the
Absolute, the one without a second, "where neither nonbeing nor being
was as yet." Then duality creeps in, darkness conceals darkness. And so
it all begins. In the fifth example of the mathematical
stanza is a brilliant

and structural symbolism alluded to in the introduction. The vertical and

crosswise directions indicated give in words the substance of a sutra
yielding a general and elegant method of multiplication and division
while keeping the orders separate — the very mechanism of creation
itself. It reveals the inner properties of five, the number for man, but

also for the manifestation of creation in the major traditions. Was it not
on the fifth day that, according to Genesis, "God created great whales
. and blessed them, saying, Be fruitful, and multiply
. .
."? Pure coin- . .

cidence? Hardly, when we know with what care the Vedic poets con-
structed their hymns. And then, what of this other coincidence that we
find with Dante's Paradiso? In virtually the same words as Prajapati

Parameshthin, the Prince of Poets sings:

Order was created and together with it

Were woven the substances;

Those formed the summit of the world
In which pure act was produced.

Pure potency held the lowest place,

In the midst, potency twisted such a mighty bond

With act, as shall never be severed.

That line, that ray of glory that the wise stretched between the Will on
high and the Potency beneath, that mighty bond, scales all the states of
being, uniting in its reach the whole creation.
Yet, from where does it all spring? Who truly knows?
 HYMN
OF CREATION
 1

20 R.V.X. 1 29.

^mM Mi\^\rifi\^ Neither nonbeing nor being was as yet,

qi^%# %oqi^-q7t^7| I
Neither was airy space nor heavens beyond;
lch4-iMl|ci; ^ ^vPT 5F^ What was enveloped? And where? Sheltered by whom?
sw-.k^TOI^ ^v^^ Ihi And was there water? Bottomless, unfathomed?
 m

>, :-«^

.V*

m..
/^'_„^(j^'^
;*S^»"

- t"-
 R.V.X.I29.2 23

^ 4jH4-^l4^k^ri ^ ^ Neither was there death nor immortality,

^TTW3^ ^l i 4^'lfVi'chH-. |
Norwas there any sign then of night or day;
^i^j^^ i rj
i^\:|qj ^^ Totally windless, by itself, the One breathed;
Hu^|^Ht^ ^i^q^pii Beyond that, indeed, nothing whatever was.
24 R.V.X. 1 29.3

^ A
'i \ ^r\MM\i\^Mii In the Principle darkness concealed darkness;
s"5%rr ^%r^ ^^f^ I
Undifferentiated surge was this whole world.
f|^HiHWl^H' m \ A)r[ The pregnant point covered by the form matrix,
^^JH4r^4^I^HMi^?|^'H^ ||^| From conscious fervor, mightily, brought forth the One.
 KM

•ii#
26 R.V.X. 1 29.4

^ H'Htiij 4H^g(fidfa
I
'" the Principle, thereupon, rose desire,
J?^^: "sw^ M<\4r\ 1
Which of consciousness was the primeval seed.
i^ ^j-|j^fri Irj^f^nfj^ Then the wise, searching within their hearts, perceived
^ ^THTW^^^^^^riii That in nonbeing lay the bond of being.
tA

.M > •k-'l?^
r^>
^u.
F» J*-', t .

•-<^
'V i'^-
44«;if fea^
f/f>,

"tjf. "Y'

J>> •^.

•"
Ar

>^i^

IV^^^.V »iJVi<fc^.'i
.•-fJ7

il
 R.V.X. 1 29.5 29

iH^^to 'km W. M
J
I'M Stretched crosswise was their line, a ray of glory.
2^: ^^2kf# fe^n^^^i^l Was there a below? And was there an above?
V^ yroripTR 2^(RR=[^ There were sowers of seeds and forces of might:
^^ 2^^wy^: M^'Wiri^lMi Potency from beneath and from on high the Will.
30 R.V.X. 1 29.6

^ :i^ % ^ f^ "5 to[ Who really knows, who could here proclaim
f>^ ^oirf fJ^|4f^^:|
Whence this creation flows, where is its origin?

3j4 | j^ci i 3^Tqfe^- With this great surge the Gods made their appearance.
xji ^ ^ ^ 3;iRVR 1141
Who therefore knows from where it did arise?
32 R.VX 129.7

l^feifotrt 2M^ from where it did arise,

This flow of creation,
x|^^^q^^?T| Whether it was ordered or was not,
^ 3™^!- qr^sqifFf He, the Observer, in the highest heaven,
^ ^lif ^ ^ ^^^11 3i He alone l<nows, unless ... He knows it not.
sS'Wst;., it, .-

.^fci Afi-A*-

,5. _^«fe^i;.f

•
! - A- *» kA . ,

>..««ll4H«ft.J^
v^.jo!(«;*s^S:^

jTvr

•.•#i^i«*-
Man is the Purusha the Person —
,

Pur-usha, the dawn in the city, He who is filled with light —

Puru - sha , filled with wisdom and eternal happiness, citizen of Heaven —
Pu-rusha, whose passions are purified.

Purusha word so
, fertile in resonances, which, like a musical theme
developed by a skillful musician, keeps unfolding its three kaleidoscopic
syllables in a never ending play, in the image of creation itself.

Such is Man, that primordial and eternal principle immanent in a thou-

sand heads, a thousand eyes, and a thousand feet, Master of immortality,
Sacrificer, sacrifice and its object, origin and end of all that is— Absolute.
 HYMN
OF MAN
36 R.V.X.90.

W^i^ "5^- Man, shining light in the City,

W^' H^irar I
Has a thousand heads, eyes, and feet,

H ^^ f^iirrf ff^ He covers the earth on all sides,

CrirMfriy^^liJjri B^H Rules supreme over inner space.
38 R.V.X.90.2

WT TRi i^f M^n indeed is this Universe,

z^ TTW ^^ I
WInat has been and what is to come,
iH ^JHrrj^^lH
i l
Master of immortality,
-M^^H iH^l^fH
l Boil
When He rises through nourishment.
 :*tti
fW.

t'***

r'-«

\Am-
"ii-/-^
•
ft
. ;, ^
'm
'-'',.<^lk. ^ -• '.-' ^^"*^^- 'J^
 R.V.X.90.3 41

^HNH4-M 5#5Tr So great is His majesty, yet

37?^ j^fAt "^^t Man, the Person, is still greater:
^ s^ W
I

^ffif^ All beings are a part of Him,

l;IMK>^^l+iH f^ II3II Three parts are immortal in Heaven.
42 R.V.X.90.4

fMf^ z^?W^' With three parts of Himself, Man rose.

^ '^itiTTH^?^..! The other part was reborn here.
^ f^ig^^zi^FFfTf From here on all sides He advanced
Ml^HH^M 1^ W'fiW Toward what feeds and does not feed.
 fi^Ni^fil^'^

*^
#' #^ •^
44 R.V.X.90.5

f4J4^l[^j | i^i^H From Him came the Source of Radiance,

%rraT 31^ ^i^T: I
From the Source of Radiance came Man.
^ HtA "yrMlMd Born, He was master of the Earth,

TjT-.||MII From east to west, from high to low.

 '"'-'A
K^-

/
t>?v.
' . A"

:y- ^.
^^f*^^
/ /
i^*-»

y - ^-y-

».-^^'
''>
46 R.V.X.90.6

ijr>ji>'M^ I ^fr^ When, with Man as their offering,

|w -Md-HHHH I
The Gods performed the sacrifice,
^W{\ Vi^^w^il^\¥i Spring was the oil of sacrifice,

^ 1^-. ST^-ll'^^ll Summer its fuel, autumn its gift.

 R.V.X.90.7 49

fi w #t^ ^^^ That sacrifice, blessed on the straw,

'jW jHrnTOT: I
Was Man, born in the beginning:
rR f^ OTjt(T Gods sacrificed by means of Him.
^Ti\m ^R[wr ^ ^ S II
So did the seers and the saints.
50 R.V.X.90.8

Hu^ i adlrHJ'jH: From that act of total giving

j^ Tjq^ 1
Drops of oil were collected:
M^jthI^ ^ \ M^U Beasts of the wind were created,
3^|ju<^M^ l 4^ l
Ji[ i^
H ti And those of woods and villages.
 ^,^.
.•^'%
52 R.V.X.90.9

d^iq5iir<ri4|ri From that act of total giving

^H: HF#T j^ I
Recited and sung hymns were born.
^j^fe" TffeR RTTfT^ Rhythms were also born from that.
^jj-H^i^oHNH II
^.
B From that arose holy mantras.
•^>

'^IV/^''
 R.VX90.I0 55

?FFTT^ :M4fT From that horseswere given birth

^^ ^^i^rrtrT: I And all beasts with two rows of teeth.
3im ? jlilR fFRTrT Cattle as well were born from that.
H«HixHirii 'ih^i Iholl From that were bom all goats and sheep.
56 R.V.X.90. 1 1

W^ ^K^' When they divided Man, the Person,

^jfnvT ^<t»rM^H I
How Were parts distributed?
^ #^
[chHHj What became of His mouth and arms?
^ jn; W 3^ Ih^ll What did they call His thighs and feet?
 x^^ J^^ '"^ri '-

-Jfti-'SJ

•
v,

^><
^ ^ •*t
58 R.V.X.90. 1 2

mm -.^jf'^MMi^ His mouth was the Man of theWord,

^ njpq-. fJrf: I
Into the Prince His arms were made.
1^ Ffi^ ^^^^. While His thighs produced the People,
1S7T 5j^ VTjm^ Wioi His feet gave birth to the Servant.
 '- ^.^

%m^m-^
60 R.V.X.90. 1 3

-4jrTTT 5=FrHt Jfwr The moon was produced from His mind.
-^: 5^ z\j\\Mr\ I
Out of His eye the sun was born,
^rprfe^^nfw Lightning and fire came from His mouth
WWf^"JTrqTr IhaB And from His breath the wind was born.
-'\-:^:-r.i*;J.
 l^r-^ -»,yv 1-5.' '.'T""
^1 . V • ... J*"

^,'''
 R.V.X90.I4 63

^^iwqr :yi>^KHW From His navel came aerial space;

#3T[f qt- -H'H^lrfri |
The sky evolved from His head;
WJ\ ^\mU^I'. #?FI From feet — earth; from ears — directions.
FWT 4t^ -ytt^rMMH l^^ill Thus the worlds were regulated.
64 R.V.X.90. 1 5

fiHl-wi^'^I^M^H, Seven were the surrounding sheaths,

fen J^TH^^rfir^: f>Hr: l
Thrice seven the prepared firebrands,
^ '^^ r^^RT When the Gods, offering sacrifice,
^;r^WT^ "S^j ihMll Bound Man as sacrificial beast.
 1

I>«f -
'ris-*-*'

f -^ '' - i

I''

Viw
66 R.V.X.90. 1

qit4
-
^sl'H-MdH*5^rR'
-
By sacrifice Gods sacrificed to sacrifice.
- -V

*#T wf^ PW+iiHWH I

These were the earliest established principles.
?r
? •;tt#> hU^H: i^ The Mighty Ones in this way reached perfect bliss,
^ "^ JiTMT: #T*?^: |'ii|| Where dwell the Gods, Ancients who made straight the Way.
 j^
'\i <•.

•^
?
•*-' 'i-> -
;'Sv
ff

•' >>"

H'^^ '^^^

W ^'

' -<MI'*P^'^"
The hymns to Dawn in the Rig-Veda are among those which best exhibit
the ancient bards' fine and deep feeling for nature.The language is sim-
ple yet rich and the imagery brilliant. But the Divine Daughter of Heaven
is not just the poetic personification of the rising sun. She is the kindling

of the Divine Fire, of the Divine Will, the dawning of the light of Truth in
the hearts and minds of men, bringing in her wake abundance of cows,
horses, and chariots — that is, of knowledge, strength, energy, and
health. Vasishtha, he who is filled with the joy of living, owner of the cow
of plenty, one of the ten patriarchs, sings her blessings in this short hymn.
 HYMN
TO TH E DAWN
70 R.V.VII.77.1

1^ ¥^ ^4r\A ^qWr Like a youthful maiden, Dawn shines brightly forth,

W ^ W^ ^n^ I
Stirring to motion every living creature.

3^^^^. 3#lV 3=fqwTpT Divine Fire was kindled for the use of men;
3?^>jq%^rWRT rTRffe i^ll Dawn created light, driving away the dark.
1
72 R.V.VII.77.2

^ y^%^ :^^j(i 3t;:i;n^ Sending out her beams, she rose up facing all,

wj^Wi fenrr '^^4-i^H l

In brilliant robes, resplendent, radiating —
^jivjuijc^uji j^^j^jich^'^ji Golden-colored and glorious to behold,
T\^f Wr^ l\^fi\i4hU m Mother of plenty, mistress of the days she shone.
i
 R.V.VII.77.3 75

k^ -q^: gwf ^t^ Blessed, bearing the sun, the eye of the Gods,
^ q4(% ^pilRn^nf I
Leading her white horse, magnificent to see,
JW 5feM Tfti#l^c(^ Dawn reveals herself, arrayed in beams of light,
^^WT[ UWTi ^1^ 1^11 ^"^ ^^'^ boundless glory she transforms the world.
76 R.V.VII.77.4

2;|feM |T 3^[i-i'J4j^ O fair one, banish the enemy with light!

M TT3jf?5wq f)Mt^:| And prepare for us broad pastures free from fear!
f^
^^TT^ m ^^
:s^ Ward off hatred, bring us your priceless treasure!
^1?^ nvt jpTHf+qT&nyB O bountiful, shower blessings on the singer!
 ,^- *?•*

1 yiv^^ ^-
''?::^:

V r>- ;'-'?"^

'^:s..

j[ftr\*jn.

^ i«li,
— '-•^

fl^

^ i %
1%
<*'>>

IWa
'w
»
78 R.V.Vll.77.5

3^ ^rW^T^fr^ftf^ *# Illumine us with your glorious splendor,

^^ yfri-lrii ^ 3^: |
O divine Dawn! Enrich and lengthen our lives,
^^^ ^V%%^RK O Goddess of grace! Grant us fulfillment
full

jl)^<iHNi^^^ ^: I HII And cows, horses, and chariots in abundance!

 ^.m
^'^f^^mj^Tfic

^iMmm'?'
80 R.V.Vll.77.6

^<^fe%|fe#4^f?r O Daughter of Heaven, Dawn of noble birth,

OT gjTiTt ^nfrifM^Wyi: I
Whom the men of glory celebrate in hymns,
M\UA\^ 'm^ftRp |7(t Establish in us wealth sublime and mighty!
^ WT JWJwfe W^:| I II
O Gods, protect us always with your blessings!
.v\V\^
V S^ ^^
m

1%
r/$ t 1 yi
1 V
9
m^m ^'^^Sb
^ ^^nP
^^Iv^^iJll^H

jyaMj
^Mlx J%vil
• 'J

5!«'<». <|
In the light, singing rhythm of the GayatrT meter, Praskanva glorifies the
sun, source of Life, sustainer of all that is, all-seeing, dispenser of light and
joy, of inner and outer health, embodiment of the highest powers that
human eyes may contemplate, image of the Truth radiating conscious-
ness, knowledge, and bliss, dispeller of the dark night of ignorance.
 HYMN
TO THE SUN
84 R.V.I.50.1

3| ^ jiinS<i*i The beams ascend toward the God

|i ^^ ¥m: I Who holds the knowledge of all lives,
C^f^^i-^i So that all things behold the Sun.
>/.]

i-
^l?»:r

^^--
i
 R.V.I.50.2 87

3^ ?cr ?TOt w Off like thieves, the constellations

#j?T ^'r^Tj^R: I Stealthily retreat with the nights

^j^ %¥^ ll^ll Before the all-beholding Sun.

88 R.V.I. 50.3

^i'^'HHi ^JrT% Now his beams are made apparent

k ^^H^I iFff^ql Radiant above the world of men
^UTifA :^^^'7^I|3| Blazing and luminous lil<e fires.
% ii:

^^-,-.'5«
90 R.V.I. 50.4

H-'I'-' l R^'^^H I Traveling on, in view of all,

jM Irj'^-.ifa
l ^j Creator of light are you, O Sun,
j^^3=n '^Tt^ V^i Shining through all ethereal space.
92 R.V.I.50.5

W^: "k^ fro Now facing all the hosts of Gods,

yrij|*4rM ^F^J^^^ I
Now facing all men you arise,
yr^[|-^' ^^t%lim Now facing all for all to see.
94 R.V.I. 50.6

^ ^m^ ^m^ O Purifier, with your eye

^JT^ ^ 3^ I
You see life quivering within
^ #w ^OT&TllM The world of creatures, Supreme Lord.
:M^h^^^^M'k:^M^2

Trrv
 »'•
\

i»
^
iM_ J
 R.V.I.50.7 97

ft omfq^ i^^m Crossing sky and obscure regions,

:m \hmh\ 3T5S: You measure out the days with nights,
M^^^i'^Hlfn W^ \\3\\ O Sun, who sees all generations.
98 R.V.I. 50.8

Tm f^ ?frftr ^ Seven mares draw you, O Lord,

^^ $^ ^ I
In your chariot. Sun Divine,

j])f^ujn^i U^VM ||t| O Radiant One with hair aflame.

1 00 R.V.I.50.9

2^ ^TT "j^j He has yoked the splendid Seven,

^ r^^ ^: I The daughters of the Sun's chariot,
fnfH^rfa J^^kfefl^ll And with this willing team, moves on.
 R.V.1.50. 10 1 03

3f?T OTH^qfr Emerging up above the dark,

jqfoq^ 3^ I Toward the higher light we turn;
k^ "^t^m v[^ We have attained the God of Gods,
WT^ .M-i-r\ji iholl The Sun itself, the highest light.
104 R.V.I. 50.1

Z^J^u f*R? Rising today, O Love's glory,

cjHHi^^Ti-'J fe? Mounting to the highest heaven,
^^ ^ ^
I

Expel, great Sun, my heart's disease,

^fmm ^ ?TRPT Ih^l And drive the jaundice far away!
-^
106 R.V.I.50.12

:^^ fT irfr^Rpf To sparrows and to parakeets,

<'
l M'J|l<^i4j 5^jfe I
O let us pass my jaundice on!
OTT ?fe%^ H Likewise unto the yellow birds,
?fcRFT fn ^^jfrr Ihoj O let us pass my jaundice on!
108 R.V.1.50.13

iiJlK'M'Hif'i^'l The Son of the Infinite has

fe^ ^R^^ Risen with all his strength and might.
^ ^wi
I

f^ Overcome evil for my sake,

rit. m i^^Tt ^ Ihaf And let me not be overcome!
As the Bhagavad GIta was to state clearly centuries later, but already
main roads to spiritual enlight-
implicit in the Rig-Veda, there are three
enment: the way of action, the way of devotion, and the way of knowledge.
This hymn of Vasishtha, foremost among the Living Ones, is addressed
to Varuna, the All-Enveloping One, Supreme Deity, Lord of Lords and
King of Kings, He Who knows and upholds the order of Nature, Who
penetrates past, present, and future. Who presides over the order of
the moral world with justice and mercy.
A fine example of Vedic devotional poetry, its tone and elevation of
language would not make it out of character among the Psalms of David.
A PSALM OF VASISHTHA
TO THE LORD OF LORDS
I 1 2 R.V.VII.86.

^ ^^ f^
?f^
^ -qiT^^
^ f^T^ I
VVise are the
Thrust apart the
works of Him Who with His Glory
two great worlds and held them there.
"5[ ^n^ip 11^ f^ He raised on high the sublime vault of Heaven
ten ^ W^ '»5=i Ih II And the radiant Sun, and stretched the Earth beneath.
^^
• ^~«r^';
 R.V.VII.86.2 I 1 5

3H "W^ ^^^^ ^ rHT While communing with myself, alone, ask:

I

^5T ^ ^ ^T^?:^ ^^#T I

O when shall dwell with the great Lord of Lords?
I

^^ ^oMJHfi.'JiH^ j|%7f Will He accept my gift with joy, not anger?

^ 4^\yh H;H^\ 3^^'||s|| With mind at peace, when shall see His Mercy?
I
116 R.V.VIl.86.3

"T^ ffe^ ^T^ tef I ask, Supreme Lord, wishing to know my sin;
^
jqt U^^ r^%rJM( Iseek out the pure in heart to question them.
3OT#rf ^TcrqftRii"- The enlightened always give the same reply:
^f ^ ^^f^H^II In truth the Lord Himself is angry with you.
118 R.V.VIi.86.4

fc^Hi ym cR^ jq^ O Lord of Lords, what was my chief transgression

^rW]dK ft=RFTfe ^wtq I
That makes You punish a singer of Your praise?
^ r\^ %^ fBSH^«Nl^ Tellme, Mighty One, from Whom nothing is hid,
^^ hMhi ^Fwr jT^^rB^B That purified soon may l<neel and adore You.
1
:.lKseiK-^:^i

•I

s
BSPO.Sk' eviHrtrcrki j^^j -vt^^wsift-c.- •
 R.V.VII.86.5 121

•y^^qi^ f^Tjw4 Release us from the misdeeds of our fathers,

31^ qr f4 ^^if^HT r^^'l Release us from those we committed ourselves,
3T? Jid'M^riq ^ Release Vasishtha, O King, as a cattle thief,
^Fpi ^ ^^T^^Wilhll Or as a calf is released from his fetters.
122 R.V.VI 1.86.6

^ ^?it ^ w^ \^' W It was not my own will, but malice itself,

^ ^F'ii^^^t^ 3##rT: O Lord — gambling, drink, anger, and carelessness,

^fe j'TO^^^'W 3^ The older man leads the younger one astray
3^Wfr#PT "JT^ 14 II
And even sleep does not prevent transgression.
 ,-t,'k— -ilS^w

^t'^':-^
24 R.V.VII.86.7

'ar^^^s^^A" Like a slave I will serve the bountiful Lord,

^ ^m ^f^ ^ W:| Blameless, I will serve the Compassionate One.
3?tr?rq#TfTt f% ^ The gentle Lord has enlightened the simple
^^ ^^ftrkt ^=# i 3)1 And in His wisdom drives greedy men to wealth.
1 26 R.V.VII.86.8

3^g^^^W^?^ song of praise, O invincible Lord,

Let this
^ ^^^ 3^iftlrTfc^ Come to Your attention, close to Your heart.
^ Wl ^ %^a^
I

^^. Peace be with us, peace with us in rest and work!

^^ "qirr ^^^fef^: W ^' II
t|| O Gods, protect us always with Your blessings!
«ri»
Vh*-
This hymn to knowledge, attributed to Brihaspati, the Lord of the Word,
recounts the origin of sacred speech. In concise poetic form, it contains
the seed of all the rich developments that were to distinguish the in-
comparable and unique contribution of Indian thought to grammatical
philosophy. It tells of the origin, development, and flowering of the
most astonishing monument ever designed by the mind, chiseled out
of the verbal substance — the Sanskrit language; it tells of the supreme
aim of human existence, the realization of the absolute nature of Man
through knowledge by the power of the Word.
 HYMN
OF THE WORD OF KNOWLEDGE
130 R.V.X.7I.I

^[iPT^ w^ ^ 3R^ When, O Lord of the Word, the Wise established

^?^ ^nr^ ^VRT: I
Name-giving, the first principle of language,
'^iw ^ ^Tskyrn^rr That which was excellent them, that which was pure,
in

OT ri^ M?^ 33^: h I Hidden deep within, through love was brought to light.
MP
132 R.V.X.71.2

When the Wise created language with the mind,

As winnowing ground barley with a sieve,
if

Friends acknowledged the quality of friendship;

Upon their speech was impressed the mark of grace.
"^MEV

m. ;>A,

W:>^
iSf-^

v-A
 R.VX71.3 135

ipq w^: -^i^^i^iq^wi ^'^^ devotion they followed the path of the Word
rTFF^feff^ itK^ I
Which they discovered dwelling within the seers.
rTFir*^ sq^: -f^m They drew it out, ordering it in every way,
^qTT>^ 3fe3^4#|a|| The Word over which the Seven Singers rejoice.
136 R.V.X.71.4

3?r R": ^^TO ^ ^R^ Many a man who sees does not see the Word
And many a man who hears does not hear it
Yet for another it reveals itself like
A radiant bride yielding to her husband.
138 R.V.X.71.5

^ \
Another man is said to be uncaring;
He is never moved to act courageously,
Allcaught up in his futile imaginings;
The Word he hears remains without flower or fruit.
f

I
140 R.V.X.71.6

He who forsakes a companion in knowledge

Has no way left open of sharing the Word.
Indeed, whatever he hears, he hears in vain;

He knows nothing of the path of right action.

M ^ >J^
 - •»:>., .-s^

J^-
r^ V
W- .rx**'fe
«•'••'"•*' ',,J^''

%^<i^
>>.^,

JS^^
X
•x:
^
L ^ j^
^W-
\

s~l: >
^. '^^
V-.
:Jt
A, a
> a.

^^

wm

V {J
I
 R.VX71.7 143

2,1^^^: ^Tcfe JH'^NNi All companions are given both eyes and ears,
^^HmTORT ^: I
But each man differs in his quickness of mind.
3ff5?TrPT m^^m 3 ^ There are some who are like deep refreshing lakes,
I5T^ 'Si?^ 3 %^1|^|| And yet others like shallow pools of water.
144 R.V.X71.8

^ A| 3=R^ ^^ When Men of the Word, companions, worship,

^Tffew: WT^ ^m^' t In their hearts refining flashes of insight,
3XW ^ ft" iT|f??fw\ Then some become fully conscious of knowledge,
^^I^I^^Ffrfe ^fe^^lltll While others go their way mouthing empty words.
 ^

^iir

#r
 R.V.X.71.9 147

f^ ^-J^Rff TOJT% Those who move neither forward nor backward are
^^rmmr ^^ft^TTOl Not Men of the Word, nor refiners of essence.
r\^ ^fr?h=?Rf^'qmr Poor craftsmen, misunderstanding the Word,
fe^tro FRH" OTjTf^:||P|| They are those who spin useless thread for themselves.
148 R.V.X.71.10

^ ^T^ ^WTFTftT All the friends rejoice for their glorious friend
wro^ W^ ^HWT: I At the end of his journey, reaching fulfillment,
i^fn '^^frM (j nh ^NjH For he brings nourishment, and removes their guilt,
s^ fe?fr M^ ^H^rrq Iholl And he is prepared to act courageously.
^i&^

m^0r
150 R.V.X.71.11

^T^f ^: h)hm\^ ipT\ While one man adds to the store of sacred verse,
nnr^ r4 T1F(% m^^ \ Another sings hymns to dispel ignorance.
f^ ^ ^^ TfTrfef The Man of the Word presents {knowledge of what is

M^*M J^feW'*^)d3r^:h^ll And yet another gives measure to worship.

Here, with extraordinary poetic power and words reminiscent of the
in

Proverbs of Solomon and of Dante, Vak, the Word, is exalted "beyond the
Heavens and beyond this broad Earth. " This word of knowledge, of wisdom
— the sound of Truth itself— is the source and nourisher of Creation.
 »

HYMN
OF THE SOUND OF TRUTH
154 R.V.X. 125.1

^ #1^^#^P)5R#r I move with roaring, howling, and radiant might,

ii^^ikr^t^ ^^T^- 1 1 move with the infinite and nature's powers.
^ f^^^nw^TTHT few 1 hold the love of the Lord of Lords, 1 hold
3ri^Wsij4l 2^?^Rfet*n Ihll The fire of the soul, I hold life and healing.
 *

&

/
(

%
156 R.V.X 125.2

I possess the sacred potion and wield

I

The power to create, to nourish and give.

2^ ^-n% #TJr ?k^ Indeed, strengthen him
I who sacrifices.
The mindful one, the generous, him who serves.
 sasr-f-'
'•>?>.-

e^'^Sr.^Si,.^-

•^.^
'^m
.3!

^•'<-
-^^r. 3..
^^.

«:_
>?r.'
 R.V.X. 125.3 159

w ^^ -HJHHj ^^
r^i I r,

I am the Queen, gatherer of abundance,

f^r<T>fiHi "5wrT ^flRHT I Knowing and wise, always supreme in worship.
•^ ^ f^ ^k>j: ""^w Divine powers appointed me in all places;
^U'Wi--ii -^41^-5)1^^1 lis II Ihave many homes, enter many forms.
I
160 R.V.X.I25.4

Through my power, the man of judgment may eat

And whoever breathes or hears the spoken Word;
Unknowingly they all abide in me.
In truth, I speak: hear, O holy tradition!
 'm^:
Mv
•?;i^'

l'f'>-
162 R.V.X. 125.5

3!?%? W^ ^klft 1 alone utter the Word Word

of Truth, the
j|t V^ft^ Hi'j¥*1-.| That brings enjoyment to Gods and men alike.
^ W^ ^tri^ t>'J|'lfe The man love, to him do give power;
1 I

rf f^apf ^T^ ft ^%>^ II Mil Imake him a divine, a seer, and a sage.
i «»..

^cHi^
1 64 R.V.X 25.6
1

m f^ Mf=[T fRtf^ I bow of him who drives out evil

Stretch the
^^Ffitt ^- ^<^ i I
That the arrow may stril<e wisdom's enemy.
W iRFT J=w^ f^^^itft" Icreate among men strife and contention.
3^ cn^Tife^ 311 ^fer III II
I both Earth and Heavens with my presence.
fill
 -•v^lv
^/^t.^«

\^

^k «i^-
'9/W.
166 R.V.X 125.7

3^ ^ ftrRH^ q^ In the beginning I bring forth the Father.

fTT^ M\U\^ i^- ^^ My source is in the waters' ocean deep.
^
I

fM b irf| ^j^^ From there move out toward every creature.

I

f^TRJ ^ fiW ^^Fift II ^11 And with my stature I reach the sky above.
168 R.V.X. 125.8

I blow like the wind; it is I that maintain

And 1 that sustain all things in creation.
Beyond the Heavens and beyond this broad Earth:
Such is the magnitude that have assumed. I
 y.,'-'^"^Ki^:

^^
,--•*•
;<^

:-%fia^y'5i^i
1^ -UiJ

* •'•
:>
Humor is not absent from the Rig-Veda, as this short poem testifies, it is

dedicated by Shishu, the child, the young student, to Soma, the deified
nectar, symbolic of mind but also of the highest beatitude. In pleasant
tones, the poet pokes fun at our ordinary state of mind, besieged by
useless imaginings and wandering thoughts.
Shall we take it as sobering or heartening that the heads of these pre-
historic people were as full of rubbish as our own? Why not let it all go
for the sake of the Spirit!
 HYMN
OF THE THOUGHTS OF MEN
172 R.V.IX 112.1

Our thoughts wander in all directions

And many are the ways of men:
The cartwright hopes for accidents,
The physician for the cripple,
And the priest for a rich patron.
For the sake of Spirit, O Mind,
Let go of all these wandering thoughts!
 I* »
\

v..

i«*'
<

•*
 R.V.IX. 112.2 175

,,,r - , r r With his dry ^rass and feather fan

__££
'
-;
And all his tools of fashioned stone,
^ -'
^ ,^ ^ The blacksmith seeks day after day
r
- - .
r r ' The customer endowed with gold.
. r.\ 7 For the sake of Spirit, O Mind,
g^T^ T^;g^ pil
^^^^^ ^^^11 ^^^^^ wandering thoughts!
176 R.V.IX.112.3

^^^^
;Mr^:i[^('-'il
^
^I
I'm a singer, father's a doctor,
Mother grinds flour with a millstone.
Our thoughts all turn upon profit
"^T^T*^"^
^T* ^^^ cowlike we all plod along.
^/^y m^ Por the sake of Spirit, O Mind,
tmq_ *^ II 3 II
Let go of all these wandering thoughts!
178 R.V.IX. 112.4

.,
The horse would draw a swift carriage,

^^r?
^^H^i^H^^f^-l:
'^
I
^^^ entertainer a good laugh,
The penis seeks a hairy slot
^"^; ^^' ^
'^^^
And the frog seeks a stagnant pond.
^'^
V^;r For the sake of Spirit, O Mind,
i^rm *^ II y II
Let go of all these wandering thoughts!
This short piece, addressed to Soma, the divine nectar, by Avatsara, the
flying one, tells of the ritual purification of the soma juice as it filters
through the sieve before its use at the sacrifice. At the physical level, the
ritual is symbolic of the process of refining food into living substance, by
means of digestion — the food being thus offered as a sacrifice to Indra,
the vital man. At the level of mind, it becomes the purifica-
principle in
tion of thoughts through discrimination, done for the sake of spirit as
the previous hymn enjoined. At the spiritual level, it is the dropping of all
attachments, the renouncing of personality to allow the final sacrifice,
the merging of the soul in the Godhead, to take place.
 HYMN
OF PURIFICATION
182 R.V.IX.60.1

5(TTT^ WT^ Oh sing a song, a song of praise

iq^TTR h^qfui I
To the clear and swiftly flowing
ii M^M^i^l^ I
'^
II
Drop of crystal with a thousand eyes.
 ..: •
-1^^:^-
^•-r ^

^**'

*«.';

^i4!P»,;

r*^-^.-

«r>

«
1 84 R.V.IX60.2

^ ^ ^t^^r^rtr; It is you with a thousand eyes,

^ w^^>v^ It is you with a thousand ways

^ ^fWt^:
I

||5|| That they purified with the sieve.

I
<^^
 R.V.IX.60.3 1 87

^rfH^Mi^ci^H'i Swiftly ran the drop of crystal

^fc^^^7^7^ ^rfe ykfrri Streaming through the sieve and rushing into the jars,
i^ ^tAtf^IUII Finding its way to Indra's heart.
188 R.V.IX.60.4

i^ ^ J1M% For Indra's sake, O nectar!

5t"4^^i'^^M'Jl I Be purified, quick-flowing one.

UiiNs^rf ^ "^ II « II Bring us the seed of abundance.

 ^

*^

>^i*i
The Rig-Vedic Indra is the Indian Zeus. First among the Gods, he wields
the thunderbolts and kills the demon that kept the cows of the Gods for
himself. He is the embodied spirit, the power of the illuminated intellect.
He conquers cities— that is, he rules over physical bodies — and he liber-

ates the cows, the light and knowledge that the miser, the ego, kept for
himself. Then, singing the praise of the Fearless One, Jeta, the conquer-
or, seer of this hymn, came full of grace to the waters of Life, the streams
of Truth, assisted by his companions in the Work.
 HYMN
TO INDRA, THE EMBODIED SPIRIT
192 R.V.I. I 1.1

^feri^stt^M^ Spirit — boundless as the ocean —

JH4^^^^4H Wf: I Charioteer of charioteers,
V^
^>itrW Lord of Strength and Lord of Being,
OT^ w^ ^ Ih II
Has been exalted by the hymns.
194 R.V.I.11.2

^=pSr ri[ i? A% Spirit!Confirmed in Your friendship,

;FfT im '^N'H'Wrl I
We have no fear, O Lord of Might!
f^\^^ "a "J|'i^4Hi We glorify You with praises,
'J^r^k-H^4ll^^^^ri h o \\
Invincible Lord of Victory!
 "IP*"

m^:

W^

ms>y->
196 R.V.I, 11.3

'^<5lU^4^ JT?T% Many are the gifts of Spirit,

^ ft <i«w4r^ri4. His blessings — never exhausted,
^ ^n=RT tT^: For He showers His worshippers
^%^^ T^ ^ 113 II
With fullness of knowledge and light.
 ?^?^^*^
-:,;
'^^^

^: U?''

^1p
Ik-.

r#

.jk
.S^,/. Vi.

^M
^
?1bJ>
fr?i*
198 R.V.I. 11.4

Conqueror of cities, young seer,

Born with unlimited power,
The Spirit sustains every act,
And is acclaimed for His thunder.
 y

'^>..

i.^^<^::,i-
^^
 .^
•!>
'^-^
t-
" '/*

-•% , .

-^^-v*-
.,,*<;.'..
"
.>''' >•
•

1 "^^y <^e^ ...- : '-^

^- •:,.

'J^
^ «r > ^
ft.
 R. V.I. I 1.5 201

f? f^5^ rjti^THt Lord of the clouds, uncovering the

^ HN^f^^j ftr^ I
Miser's hoard of light and knowledge,
r^'^ 3^^^ The fearless Gods are on Your side,
^3WTW 3?ikf : II M II
Thrusting forward to the attack.
202 R.V.I. 11.6

FRT^ *i^ ^#4: Singing Your praise, O Mighty One!

yrMi-M ^FT^JHi^^H I Icame full of grace to the water
iHifrfyd f?mt And the workers of Truth stood by
fsf^^ FTRT ^H^ ^ II II Witnessing, O Lover of Song!
 "m:

mi.

rf^^--
.-'Tf^f'

4teV

• , '.•v^:.-

.-;— V.

*".
?^;^-:::>M^?r#»iw^i..v/Ji-rf
 R. V.I. 11.7 205

^iMMte f#R By Your art, Spirit, You defeat

^ ^fa^m^ifi^: I
Tiie artful witiiering of Death.

I^f? rFR" 3^Wtto" May tlie Wise who witness Your act
%^ ^^^k^frk Mil Be inspired by You, O Spirit.
206 R.V.I. 11.8

^^4^)oiHJHid>Hi To Spirit Who rules by His might

w(mj 2;^^^ We have joyfully sung praises.
^
srf*? \

j^ rnT?T His blessings flow a thousandfold

JtT ^ J% -^fWt: II til And ever more abundantly.
This is the hymn of the Rig-Veda Samhita. The rishi, Samvanana, of-
final

fers it to Agni, the God of Fire, the Divine Fire, the Divine Will and Love
that unites the vAse in their common striving to live and speak the Truth.

I
 HYMN
OF THE ONE WORK
210 R.V.X.191.1

'rofa^^ T^ You take possession, Divine Fire,

^^f^^PT^-yil Ofall that the devoted bring- f

^cbw J^':q% On the altar you are kindled.

^^ ^rp^ VF i|'i|| Bring us the priceless treasure.
jf

^1
212 R.V.X.191.2

^ jfev^ ^ 4^ Come together! Speak together!

^ % J^^rfe jTRrTT I Letyour minds be harmony,
in
'^ Mm ^^^ '^ As the Gods of old together
-HiiHMi iWft l|a II Sat in harmony to worship.
*r,"S»<5T«'-*5-"«v
N^

J
 R.V.X.191.3 215

m- 4-jWfH: MM\^
^FTRt The speech is one, united are the voices;
4rr ^: T^ [^riVi^i I The mind in union with the thoughts of the Wise,
TOFT m^^ m^ ^*. In union with the words that speal< to you,
I

-H^HH % ^mj 5^frr 11^(11 To you the sacrifice mal<e is one.

I
216 R.V.X.191.4

w^ ^ 3n^: Let your aim be one and single;

wm ^iM\U ^' I
Let your hearts be joined in one -
•nHH-H^fi %?!% Themindat rest in unison

^f ^i-w^wft H^ll At peace with all, so may you be.

ik q^ '^far Here finishes the collection of the Rig-Veda.
3-0 OM
A NOTE ON THE TRANSLATOR
AND THE PHOTOGRAPHER

l
ean Le Mee was born in France in 1931 and came to the United
States in 1 958. He holds a doctorate from Carnegie-Mellon
University in Pittsburgh and studied Sanskrit at Columbia Univer-
sity in New York City. He teaches at the Cooper Union for the

Advancement of Science and Art in New York City.

Ingbert GrUttner was born in Germany in I 943. was educated in

the United States, and served with the Air Force in Spain. He
now lives in Stony Creek, Connecticut, with his wife and young
daughter. For the past eight years he has worked as a photo il-

lustrator on many varied assignments ranging from Grimm's

Fairy Tales to environmental studies for the Federal Government.
The photographs for this book were shot in East Africa— in

Ethiopia. Kenya, and Tanzania— because Ingbert GrUttner felt

that the timeless quality of the land and the sense of human ori-

gin there best reflected the spirit of the Rig-Veda.

A NOTE ON THE CALLIGRAPHY
ANDTHETYPE

The calligraphy which accompanies the text of the translation is The text of this book was set in Friz Quadrata. an alphabet de-

done in the DevanagarT alphabet. It was not until the introduc- signed by the Swiss graphic artist Ernst Friz. It was developed
tion of printing, however, that this alphabet was generalized for in I 966 for entry in the International Typeface Competition
Sanskrit. Before this a great variety of local alphabets were used and was subsequently selected as one of the prizewinners.
in manuscripts, the DevanagarT variety being itself characteristic At first in use only as a display face. Friz Quadrata was made
of North India. It evolved from the so-called BrahmT alphabet available for text composition on the Alphatype in 1 974.
toward the beginning of the Christian era. It has been suggested The upper case letters are derived from the classical Greek
that the BrahmT alphabet derived from Semitic sources, but alphabet, with the lower case letters and numerals designed to
scholars are not agreed on this point. Whatever its origin, how- complement the capitals. Although inspired by ancient letter

ever, it had its beginning in India about 500 B.C.. though the ear- forms. Friz Quadrata is strongly contemporary in feeling, and
liest preserved records are the Ashokan inscriptions dating from admirably meets the designer's goal of "building a bridge from
the third century B.C. The traditional writing material in India was antiquity to the present.

palm leaf, though in the north the inner bark of birch trees was
also used. The nature of the materials, combined with Indian cli-

matic conditions, accounts for the lack of really old Indian manu-
Composed by Superior Printing. Champaign, Illinois. Printed
scripts. Writing seems to have been originally used mostly for
and bound by R. R. Donnelley &^ Sons. Chicago, Illinois.
business purposes. During the Vedic period no form of writing
was employed. The literature was transmitted orally. This tradi-

tion has been kept to this day. Little evidence of writing to pre- Cover photograph by Ingbert GrLittner.
serve Sanskrit literature has been found earlier than the second
century B.C. Indeed, dire punishments in hell were promised
those who read the Veda rather than learned it by ear. Typography and cover design by Clint Anglin.
95
OSOPHYAND RELIGION

The Rig-Veda, the core of the Hindu scriptural canon, is the supreme
monument of an early religion which has left no archeological remains,
no church, no dogma, no founder, and virtually no history. This collec-
tion of over a thousand hymns has been preserved by the Vedic
schools through an elaborate oral tradition, consciously designed
to prevent any distortion. The hymns can be read at different levels of
meaning, depending on the philosophy of the reader. Each point of
view discovers a world in which the words have a certain resonance
and impact and therefore give rise to a particular realization or inter-
pretation. By tradition the Veda is said to embody the laws of the
universe itself, as seen by the rishis. Above all, the Rig-Veda is a glorious
song of praise to the gods, the cosmic powers at work in nature and
in man.

The purpose in presenting the twelve hymns in this book is simply

to begin to make available for our time one of the major scriptures of
mankind, and to suggest something of its profundity and magnificence "^
in a translation that reflects the quality, substance, and form of the original.

394-73055-0