The reason for this harvest offering is explained as follows: The gods and the demons contended for supremacy. It chanced that the demons defiled, partly by magic and partly by poison, the plants used by men and beasts, hoping thus to overcome the gods. Men ceased to eat and the beasts stopped grazing; all creatures were about to perish because of the famine.
Said the gods: “Let us rid the plants of this.”
Then they offered sacrifices and “accomplished all that they wanted to accomplish, and so did the Rishis”.
A dispute then arose among the gods as to who should partake of the offerings of the firstfruits—that is, of the new plants which replaced those the demons had poisoned. It was decided to run a race to settle the matter. Indra and Agni won the race and were therefore awarded the cake. These two gods were divine Kshatriyas (noblemen), the others were “common people”. Whatever Kshatriyas conquer, the commoners are permitted to share; therefore the other gods received the mess of old grain.
After the magic spell was removed from the plants by the gods, men ate food and cattle grazed once again. Ever afterwards, at the beginning of each harvest, the first fruits were offered up to Indra and Agni. The fee of the priest was the first-born calf “for that is, as it were, the firstfruits of the cattle”.63
The popular Thunder god of the Vedic period bears a close resemblance to the hard-drinking, kindly, and impulsive Thor, the Teutonic god of few words and mighty deeds, the constant “friend of man” and the inveterate enemy of demons. In the hymns Indra is pictured as a burly man, with “handsome, prominent nose”, “good lips”, and “comely chin”; he is “long-necked, big-bellied, strongly armed”, and has a weakness for ornaments. He is much addicted to drinking “sweet, intoxicating Soma”; he “fills his stomach”; he quaffs “thirty bowls” at a single draught ere he hastens to combat against “hostile air demons”. Sometimes he is placed in a difficulty when two tribes of his worshippers are in conflict: both cry to him for victory, but—
The god giveth victory unto him
Who with generous heart pours out
The draught he thirsts for—
Nor feels regret in giving;
Indra joins with him upon the battlefield.
Rigveda, iv, 24. 2-6.
The Aryans, who were as notorious cattle lifters as the Gauls and the Scottish Highlanders, were wont to invoke the god ere they set out on a raid, chanting with loud voices:
Indra, whose riches are boundless, O grant us
Thousands of beautiful cows and horses:
Destroy, thou mighty one, all who despise us,
Visit with death all those who would harm us, and
Indra, whose riches are boundless, O grant us,
Thousands of beautiful cows and horses.
Wilson's translation.
In other hymns the Thor-like character of Indra, the war god, is naively depicted. A sceptic is supposed to say: “Many men declare that there is no Indra. Who ever saw him? Why should we adore him?”
The god makes answer: “O singer, I am: behold me! I am here now, and I am greater than any living being. I delight in the performance of holy rites. I am also the Destroyer; I can hurl creation to ruin.” Rigveda, viii, 89.
I never knew a man to speak so to me,
When all his enemies are safely conquered;
Yea, when they see how fierce the battle rages,
They even promise me a pair of bullocks.
When I am absent in far distant places,
Then all with open hands their gifts would bring me …
Lo! I will make the wealthy niggard needy,
Seize by the foot and on the hard rock dash him.
Rigveda, x, 27.
The lord of both the worlds hates all the haughty,
He cares for those who feel themselves but human.
Rigveda, vi, 47.64
These verses recall: “Silence, thou evil one,” roared Thor, “or else with my hammer shall I strike thy head off and end thy life.”
Then did Loke answer humbly: “Silent indeed I shall be now, O Thor, for I know full well thou wilt strike.”65
6
THE PARADISE OF INDRA
From a Rock Sculpture at Mâmallapuram
The human qualities of Indra are illustrated in epic narrative. Arjuna, the Indian Achilles, is his son, and pays a visit to the brilliant Celestial city on the summit of Mount Meru, where flowers are ever blooming, and pretty nymphs dance to pleasure battle-slain warriors.
Arjuna saluted his divine sire. “And Indra thereupon embraced him with his round and plump arms. And taking his hand, Shakra (Indra) made him sit on a portion of his own seat.... And the lord of the Celestials—that slayer of hostile heroes—smelt the head of Arjuna, bending in humility, and even took him upon his lap.... Moved by affection, the slayer of Vritra touched that beautiful face with his own perfumed hands. And the wielder of the thunderbolt, patting and rubbing gently again and again with his own hands, which bore the marks of the thunderbolt, the handsome and large arms of Arjuna, which resembled a couple of golden columns and were hard in consequence of drawing the bowstring and shooting arrows, began to console him. And the slayer of Vritra … eyeing his son of curling locks smilingly and with eyes expanded with delight, seemed scarcely to be gratified. The more he gazed, the more he liked to gaze on. And seated on one seat, the father and son enhanced the beauty of the assembly, like the sun and moon beautifying the firmament together.”66
Indra was attended in his heaven by vague spirits, called Vasus, who appear to have acted as his counsellors. When Bhishma, a hero of the great Bhărata war, was slain in battle, he was given a place among the Vasus. The Thunder god's queen is a shadowy personality, and is called Indrani.
Indra was attended by a dog, as befitted a deity of primitive huntsmen. After the early Aryan period, he showed less favour for his bays and chariot, and seated himself upon a great white elephant, “the handsome and ever victorious”, named Airavata; it “was furnished with four tusks” and “resembled the mountain of Kailasa with its summits”.
CHAPTER II
The Great Vedic Deities
Agni the Fire God—Source of Life—The Divine Priest—Myths regarding his Origin—The Child God—Resemblances to Heimdal and Scyld—Messenger of the Gods—Martin Elginbrodde—Vayu or Vata, the Wind God—Teutonic Vate and Odin—The Hindu “Wild Huntsman”—Rudra the Howler—The Rain God—Sublime Varuna—The Omniscient One—Forgiver of Sins—Mitra, an ancient Deity—Babylonian Prototype—A Sun God—A Corn God—Mitanni Deities—Surya, the Sun God—The Adityas—Ushas, Goddess of Dawn—Ratri, Night—Chandra, the Moon—Identified with Soma—The Mead of the Gods—A Humorous Hymn—Sources of Life—Origin of Spitting Ceremonies.
Agni, the fire god, was closely associated with Indra, and is sometimes called his twin brother. The pair were the most prominent deities in Vedic times: about 250 hymns are addressed to Indra and over 200 to Agni.
Indra gave the “air of life” to men; Agni symbolized the “vital spark”, the principle of life in animate and inanimate Nature; he was in man, in beast, and fish; he was in plants and trees; he was in butter and in intoxicating Soma. The gods partook of the nature of Agni. In one of the post-Vedic Creation myths he is identified with the Universal soul; Brahma existed in the form of Agni ere the worlds were framed and gods and men came to be. Agni was made manifest in lightning, in celestial sun flames, in the sacred blaze rising from the altar and in homely household fires. The fire god was the divine priest as contrasted with Indra, the divine warrior.
In the Vedic invocations there are evidences that several myths had gathered round the fascinating and wonderful fire god. One hymn refers to him as a child whose birth was kept a secret; his mother, the queen, concealed him from his sire; he was born in full vigour as a youth, and was seen sharpening his weapons at a distance from his home which he had forsaken.67 Sometimes he is said to have devoured his parents at birth: this seems to signify that he consumed the fire sticks from which holy fire was produced by friction. Another hymn says that “Heaven and Earth (Dyaus and Prithivi) fled away in fear of (the incarnation of) Twashtri when he was born, but they returned to embrace the lion”.68
Agni was also given ten mothers who were “twice five sisters”,69 but the reference is clearly explained in another passage: “The ten fingers have given him birth, the ancient, well-loved Agni, well born of his mothers”.70
Dawn, with its darkness-consuming fires, and starry Night, are the sisters of Agni; “they celebrate his three births, one in the sea, one in the sky, one in the waters (clouds)”. Typical of the Oriental mind is the mysterious reference to Agni's “mothers” owing their origin to him. The poet sings:
Who among you hath understood the hidden (god)?
The calf has by itself given birth to its mothers.
Professor Oldenberg, who suggests that the waters are the “mothers”, reasons in Oriental mode: “Smoke is Agni, it goes to the clouds, the clouds become waters”.71
7
AGNI, THE FIRE GOD
From a painting by Nanda Lall Bose
(By permission of the Indian Society of Oriental Art, Calcutta)
In his early humanized form Agni bears some resemblance to Heimdal, the Teutonic sentinel god, who has nine mothers, the daughters of sea-dwelling Ran, and is thus also a “son of the waters”; he is clad in silvern armour, and on his head is a burnished helmet with ram's horns. Horsed on his swift steed, Gulltop, he watches the demons who seek to attack the citadel of the gods.... His sight is so keen that he can see by night as well as by day.... Heimdal is loved both by gods and by men, and he is also called Gullintani because his teeth are of gold. There was a time when he went to Midgard (the earth) as a child; he grew up to be a teacher among men and was named Scef. Scef is identified as the patriarch Scyld in Beowulf, who came over the sea as a child and rose to be the king of a tribe. Mankind were descended from Heimdal-Scef: three sons were born to him of human mothers—Thrall, from whom thralls are descended; Churl, the sire of freemen, and Jarl from whom nobles have sprung.72
In Mahabharata there is a fragment of an old legend which relates the origin of Karna, the son of Queen Pritha and the sun god: the birth of the child is concealed, and he is placed in a basket which is set afloat on the river and is carried to a distant country.73
One of the Vedic references to Agni, as we have seen, suggests an origin similar to Karna of the epic period. He was connected with the introduction of agriculture like the Teutonic Scef, which signifies “Sheaf”. Agni is stated to have been “carried in the waters.... The great one has grown up in the wide unbounded space. The waters (have made) Agni (grow)”.74 Agni is “sharp faced” (i, 95); he is “the bright, brilliant, and shining one” (iv, i. 7); he is “gold toothed” (v, 22); he sees “even over the darkness of night” (i, 94. 7); he “makes all things visible”; he conquers the godless, wicked wiles; he sharpens his two horns in order to pierce Rakshasas (giants) (v, 2). “O Agni, strike away with thy weapons those who curse us, the malicious ones, all ghouls, be they near or far” (i, 94. 9). Heimdal blows a trumpet in battle; Agni is “roaring like a bull” (i, 94. 10).
As Heimdal, in his Scef-child form, was sent to mankind by the gods, “Matarisvan75 brought Agni to Bhrigu as a gift, precious like wealth, of double birth, the carrier, the famous, the beacon of the sacrifice, the ready, the immediately successful messenger.... The Bhrigus worshipping him in the abode of the waters have verily established him among the clans of Ayu. The people have established beloved Agni among the human clans as (people) going to settle (establish) Mitra” (i, 60). Oldenberg explains that people going anywhere secure safety by ceremonies addressed to Mitra, i.e. by concluding alliances under the protection of Mitra. Another reference reads, “Agni has been established among the tribes of men, the son of the waters, Mitra acting in the right way”. Oldenberg notes that Mitra is here identified with Agni; Mitra also means “friend” or “ally” (iii, 5. 3, and note). Scyld in Beowulf, the mysterious child of the sea, became a king over men. Agni “indeed is king, leading all beings to gloriousness. As soon as born from here, he looks over the whole world.... Agni, who has been looked and longed for in Heaven, who has been looked for on earth—he who has been looked for has entered all herbs” (i, 98).76 To Agni's love affairs upon earth there are epic references, and in the “Vishnu Purana” he is mentioned as the father of three human sons.
The reference to the Bhrigus, to whom Agni is carried, is of special interest. This tribe did not possess fire and were searching for it (Rigveda, x. 40. 2). In another poem the worshippers of Agni are “human people descended from Manush (Manu)” (vi, 48. 8). The Bhrigus were a priestly family descended from the patriarch Bhrigu: Manu was the first man. Two of the Teutonic patriarch names are Berchter and Mannus.
Agni was the messenger of the gods; he interceded with the gods on behalf of mankind and conducted the bright Celestials to the sacrifice. The priest chanted at the altar:
Agni, the divine ministrant of the sacrifice, the greatest bestower of treasures; may one obtain through Agni wealth and welfare day by day, which may bring glory and high bliss of valiant offspring.
Agni, whatever sacrifice and worship thou encompassest on every side, that indeed goes to the gods. Thou art King of all worship.... Conduct the gods hither in an easy-moving chariot.77
Like Indra, Agni was a heavy consumer of Soma; his intensely human side is not lost in mystic Vedic poetry.
Agni, accept this log, conqueror of horses, thou who lovest songs and delightest in riches....
Thou dost go wisely between these two creations (Heaven and Earth) like a friendly messenger between two hamlets....
His worshippers might address him with great familiarity, as in the following extracts:—
If I were thee and thou wert me, thine aspirations should be fulfilled.
Rigveda, xiii, 44. 23.
If, O Agni, thou wert a mortal and I an immortal, I would not abandon thee to wrong or to penury: my worshippers should not be poor, nor distressed, nor miserable.
Rigveda, viii, 19.
These appeals are reminiscent of the quaint graveyard inscription:
Here lie I, Martin Elginbrodde.
Hae mercy on my soul, Lord God,
As I wad dae were I Lord God,
And ye were Martin Elginbrodde.
The growth of monotheistic thought is usually evinced in all mythologies by the tendency to invest a popular deity with the attributes of other gods. Agni is sometimes referred to as the sky god and the storm god. In one of the hymns he is entreated to slay demons and send rain as if he were Indra:
O Agni, overcome our enemies and our calamities;
Drive away all disease and the Rakshasas—
Send down abundance of waters
From the ocean of the sky.
Rigveda, x, 98. 12.
Indra similarly absorbed, and was absorbed by, the wind god Vayu or Vata, who is also referred to as the father of the Maruts and the son-in-law of the artisan god Twashtri. The name Vata has been compared to Vate, the father of the Teutonic Volund or Wieland, the tribal deity of the Watlings or Vaetlings; in old English the Milky Way was “Watling Street”. Comparisons have also been drawn with the wind god Odin—the Anglo-Saxon Woden, and ancient German Wuotan (pronounced Vuotan). “The etymological connection in this view”, writes a critic, “is not free from difficulty.”78 Professor Macdonell favours the derivation from “va” = “to blow”.
The Indian Vata is invoked, as Vayu, in a beautiful passage in one of the hymns which refers to his “two red horses yoked to the chariot”: he had also, like the Maruts, a team of deer. The poet calls to the wind:
Awake Purandhu (Morning) as a lover awakes a sleeping maid.... Reveal heaven and earth....
Brighten the dawn, yea, for glory, brighten the dawn....
These lines recall Keats at his best:
There is no light
Save what from heaven is with the breezes blown....
Ode to the Nightingale.
A stirring hymn to the wind god loses much of its vigour and beauty in translation:
Sublime and shining is the car of Vata;
It sweeps resounding, thundering and crashing;
Athwart the sky it wakens ruddy flashes,
Or o'er the earth it sets the dust-clouds whirling.
The gusts arise and hasten unto Vata,
Like women going to a royal banquet;
In that bright car the mighty god is with them,
For he is rajah of the earth's dominions.
When Vata enters on the paths of heaven,
All day he races on; he never falters;
He is the firstborn and the friend of Ocean—
Whence did he issue forth? Where is his birthplace?
He is the breath79 of gods: all life is Vata:
He cometh, yea, he goeth as he listeth:
His voice is heard; his form is unbeholden—
O let us offer sacrifice to Vata.
Rigveda, x, 168.
Another wind or storm god is Rudra, also the father of the Maruts, who are called “Rudras”. He is the “Howler” and “the Ruddy One”, and rides a wild boar. Saussaye calls him “the Wild Huntsman of Hindu Mythology”. He is chiefly of historical interest because he developed into the prominent post-Vedic god Shiva, the “Destroyer”, who is still worshipped in India. The poets invested him with good as well as evil qualities:
Rudra, thou smiter of workers of evil,
The doers of good all love and adore thee.
Preserve me from injury and every affliction—
Rudra, the nourisher.
Give unto me of thy medicines, Rudra,
So that my years may reach to a hundred;
Drive away hatred, shatter oppression,
Ward off calamity.
Rigveda, ii, 33.
The rain cloud was personified in Parjanya, who links with Indra as the nourisher of earth, and with Agni as the quickener of seeds.
Indra's great rival, however, was Varuna, who symbolized the investing sky: he was “the all-enveloping one”. The hymns impart to him a character of Hebraic grandeur. He was the sustainer of the universe, the lawgiver, the god of moral rectitude, and the sublime sovereign of gods and men. Men worshipped him with devoutness, admiration, and fear. “It is he who makes the sun to shine in heaven; the winds that blow are but his breath; he has hollowed out the channels of the rivers which flow at his command, and he has made the depths of the sea. His ordinances are fixed and unassailable; through their operation the moon walks in brightness, and the stars which appear in the nightly sky, vanish in daylight. The birds flying in the air, the rivers in their sleepless flow, cannot attain a knowledge of his power and wrath. But he knows the flight of the birds in the sky, the course of the far-travelling wind, the paths of ships on the ocean, and beholds all secret things that have been or shall be done. He witnesses men's truth and falsehood.”80
8
SHIVA'S DANCE OF DESTRUCTION, ELLORA (see pages 147-8)
He is the Omniscient One. Man prayed to him for forgiveness for sin, and to be spared from the consequences of evil-doing:
May I not yet, King Varuna,
Go down into the house of clay:
Have mercy, spare me, mighty Lord.
O Varuna, whatever the offence may be
That we as men commit against the heavenly folk,
When through our want of thought we violate thy laws,
Chastise us not, O god, for that iniquity.
Rigveda, vii, 89.81
His messengers descend
Countless from his abode—for ever traversing
This world and scanning with a thousand eyes its inmates.
Whate'er exists within this earth, and all within the sky,
Yea, all that is beyond, King Varuna perceives....
May thy destroying snares, cast sevenfold round the wicked,
Entangle liars, but the truthful spare, O King!
Rigveda, iv, 16.82
In contrast to the devotional spirit pervading the Varuna hymns is the attitude adopted by Indra's worshippers; the following prayer to the god of battle is characteristic:—
O Indra, grant the highest, best of treasures,
A judging mind, prosperity abiding,
Riches abundant, lasting health of body,
The grace of eloquence and days propitious.
Rigveda, ii, 21. 6.
The sinner's fear of Varuna prompted him to seek the aid of other gods. Rudra and the Moon are addressed:
O remove ye the sins we have sinned,
What evil may cling to us sever
With bolts and sharp weapons, kind friends,
And gracious be ever.
From the snare of Varuna deliver us, ward us,
Ye warm-hearted gods, O help us and guard us.
Associated with Varuna was the God Mitra (the Persian Mithra). These deities are invariably coupled and belong to the early Iranian period. Much controversy has been waged over their pre-Vedic significance. Some have regarded Mithra as the firmament by day with its blazing and fertilizing sun, and Varuna as the many-eyed firmament of night, in short, the twin forms of Dyaus. Prof. E. V. Arnold has shown, however, that in the Vedas, Mithra has no solar significance except in his association with Agni. The fire god, as we have seen, symbolized the principle of fertility in Nature: he was the “vital spark” which caused the growth of “all herbs”, as well as the illuminating and warmth-giving flames of sun and household hearth.
Mitra as Mithra with Varuna, and a third vague god, Aryaman, belong to an early group of equal deities called the Adityas, or “Celestial deities”. “It would seem that the worship of these deities”, says Prof. Arnold, “was already decaying in the earliest Vedic period, and that many of them were then falling into oblivion.... In a late Vedic hymn we find that Indra boasts that he has dethroned Varuna, and invites Agni to enter his own service instead. We may justly infer from all these circumstances that the worship of the ‘celestials’ occupied at one time in the history of the race a position of greater importance than its place in the Rigveda directly suggests.”83
The following extracts from a Mitra-Varuna hymn indicate the attitude of the early priests towards the “Celestial deities”:—
To the gods Mitra and Varuna let our praise go forth with power, with all reverence, to the two of mighty race.
These did the gods establish in royal power over themselves, because they were wise and the children of wisdom, and because they excelled in power.
They are protectors of hearth and home, of life and strength; Mitra and Varuna, prosper the mediations of your worshippers....
As the sun rises to-day do I salute Mitra and Varuna, and glorious Aryaman.... The blessings of heaven are our desire....
Prof. Arnold's translation.
In Babylonian mythology the sun is the offspring of the moon. The Semitic name of the sun god is Samas (Shamash), the Sumerian name is Utu; among other non-Semitic names was Mitra, “apparently the Persian Mithra”. The bright deity also “bears the names of his attendants ‘Truth’ and ‘Righteousness’, who guided him upon his path as judge of the earth”.84
It may be that the Indian Mitra was originally a sun god; the religion of the sun god Mithra spread into Europe. “Dedications to Mithra the Unconquered Sun have been found in abundance.”85 Vedic references suggest that Mitra had become a complex god in the pre-Vedic Age, being probably associated with a group of abstract deities—his attributes symbolized—who are represented by the Adityas. The Mitra-Varuna group of Celestials were the source of all heavenly gifts; they regulated sun and moon, the winds and waters and the seasons. If we assume that they were of Babylonian or Sumerian origin—deities imported by a branch of Aryan settlers who had been in contact with Babylonian civilization—their rivalry with the older Aryan gods, Indra and Agni, can be understood. Ultimately they were superseded, but the influence exercised by their cult remained and left its impress upon later Aryan religious thought.
The Assyrian word “metru” signifies rain.86 The quickening rain which caused the growth of vegetation was, of course, one of the gifts of the Celestials of the firmament. It is of interest to note, therefore, in this connection that Professor Frazer includes the western Mithra among the “corn gods”. Dealing with Mithraic sculptures, which apparently depict Mithra as the sacrificer of the harvest bull offering, he says: “On certain of these monuments the tail of the bull ends in three stalks of corn, and in one of them cornstalks instead of blood are seen issuing from the wound inflicted by the knife”.87
Commenting on the Assyrian “metru” Professor Moulton says: “If this is his (Mithra's) origin, we get a reasonable basis for the Avestan (Early Persian and Aryan) use of the word to denote a ‘contract’, as also for the fact that the deity is in the Avesta patron of Truth and in the Veda of Friendship. He is ‘the Mediator’ between Heaven and Earth, as the firmament was by its position, both in nature and mythology: an easy corollary is his function of regulating the relations of man and man.”
The character of an imported deity is always influenced by localization and tribal habits. Pastoral nomads would therefore have emphasized the friendliness of Mithra, who sent rain to cause the growth of grass on sun-parched steppes. Both Mithra and Varuna had their dwelling-place in the sea of heaven, the waters “above the firmament” from which the rain descended. Ultimately the Indian Mitra vanished, being completely merged in Varuna, who became the god of ocean after the Aryans reached the sea coast. In post-Vedic sacred literature the priestly theorists, in the process of systematizing their religious beliefs, taught that a great conflict took place between the gods and demons. When order was restored, the various deities were redistributed. Indra remained the atmospheric god of battle, and Varuna became the god of ocean, where, as the stern judge and lawgiver and the punisher of wrongdoers, he kept watch over the demons. In the “Nala and Damayanti” epic narrative, the four “world guardians” are: Indra, king of the gods; Agni, god of fire; Varuna, god of waters; and Yama, judge of the dead.
It may be that the displacement of Varuna as supreme deity was due to the influence of the fire-worshipping cult of Agni, who was imported by certain unidentified Aryan tribes that entered India. Agni did not receive recognition, apparently, from the other Aryan “folk-wave”, which established a military aristocracy at Mitanni in Mesopotamia, and held sway for a period over the Assyrians and some of the Hittite tribes. An important inscription, which is dated about 1400 B.C., has been deciphered at Boghaz-Köi in Asia Minor by Professor Hugo Winckler, who gives the names of the following deities:
“Mi-it-ra, Uru-w-na, In-da-ra, and Na-sa-at-ti-ia”—
Mitra, Varuna, Indra, Nasatya. The latter is Nasatyau, the Vedic Aswins, twin gods of morning, who have been compared to the Greek Dioskouri (Castor and Pollux), sons of Zeus.
A Vedic triad, which suggests a rival cult to that of the worshippers of Varuna and other Adityas, is formed by Vayu (wind), Agni (fire), and Surya (the sun).
The Indian sun god Surya, like the Egyptian Ra, had three forms. The rising sun was Vivasvat; the setting sun was Savitri.
Vivasvat was the son-in-law of Twashtri, the artisan of Nature; he was an abstract deity, and apparently owed his origin to the group of Adityas.
Savitri, who had yellow hair, was of pre-Vedic origin. He was the “Stimulator”. When he commanded Night to approach, men ceased their labours, birds sought their nests, and cattle their sheds.88
During the long centuries covered by the Vedic period many “schools of thought” must have struggled for supremacy. The Vivasvat myth belongs, it would appear, to the time before the elephant was tamed by the Aryans. Aditi, the mother of the Adityas, who is believed to be of later origin than her children, had eight sons. She cherished seven of them; the eighth, which was a shapeless lump, was thrown away, but was afterwards moulded into Vivasvat, the sun; the pieces of the lump which were cast away by the divine artisan fell upon the earth and gave origin to the elephant, therefore elephants should not be caught, because they partake of divine nature.
9
SURYA IN HIS CHARIOT
From the Kailâsa Temple, Ellora
Surya is an Aryanized sun god. He drives a golden chariot drawn by seven mares, or a mare with seven heads; he has golden hair and golden arms and hands. As he is alluded to as “the eye of Varuna and Mitra”, and a son of Aditi, it is evident that if he did not originally belong to the group of Adityas, he was strongly influenced by them. In his Savitri character, which he possesses at morning as well as at evening, he stimulates all life and the mind of man. One of the most sacred and oldest mantras (texts) in the Vedas is still addressed by Brahmans to the rising sun. It runs:—
Let us meditate on that excellent glory of the divine Vivifier,
May he enlighten (or stimulate) our understandings.89
The feeling for Nature pervades the ancient religion and literature of India. Priests were poets and singers in early Vedic times. A Rishi was a composer of hymns to the gods, and several are named in the collections. Every great family appears to have had its bardic priest, and its special poetic anthology which was handed down from generation to generation. Old poems might be rewritten and added to, but the ambition of the sacred poet was to sing a new song to the gods. The oldest Vedic hymns are referred to as “new songs”, which suggests that others were already in existence.
These Rishis looked upon Nature with the poet's eye. They symbolized everything, but they revelled also in the gorgeous beauty of dawn and evening, the luxuriance of Indian trees and flowers, the serene majesty of Himalayan mountains, the cascades, the rivers, and the shining lakes. The wonder and mystery of the world inspired their hymns and their religion. Even the gods took delight in the songs of birds, the harping of forest winds, the humming of bees, the blossoming trees, and the flower-decked sward. Heaven has its eternal summer and soft scented winds, its lotus-gemmed lakes and never-fading blooms.
The effulgence and silence of dawn inspired some of the most beautiful Vedic hymns. Dawn is Ushas, the daughter of Dyaus; she is the Indian Aurora:
Hail, ruddy Ushas, golden goddess, borne
Upon thy shining car, thou comest like
A lovely maiden by her mother decked,
Disclosing coyly all thy hidden graces
To our admiring eyes; or like a wife
Unveiling to her lord, with conscious pride,
Beauties which, as he gazes lovingly,
Seem fresher, fairer, each succeeding morn.
Through years and years thou hast lived on, and yet
Thou'rt ever young. Thou art the breath of life
Of all that breathes and lives, awaking day by day
Myriads of prostrate sleepers, as from death,
Causing the birds to flutter from their nests,
And rousing men to ply with busy feet
Their daily duties and appointed tasks,
Toiling for wealth, or pleasure, or renown.90
The Vedic poets “looked before and after”. One sang: