RV (X.85.13) अघासु हन्यन्ते गावः ...
R. N. iyengar
Dear Scholars,
I don’t like to interfere with the discussions going on in another thread on “māghamase gavām iva”. If one considers linguistic similarities as a way of analysis, this usage can be traced back to RV (x.85) the Sūryā-vivāha sūkta. As is widely known the phrase aghāsu hanyante gāvo…(X.85.13) is taken to mean killing of cows before a marriage by western indologists, where as Sāyaṇa takes it to mean goading the bullocks of the cart.. (pl see below). It is the phrase hanyante gāvaḥ especially the latter word that leads to different meanings. When the same word gives different meanings, it is generally said that one must take the meaning suited to the context. In some cases the context itself may be unclear to a modern reader. It is also possible the RV poets have introduced multiple shades of mystical and/or intuitive meanings in their natural extempore outpourings. The above RV Sūkta is one such inspired poetry, in my understanding. The context is marriage, but between two celestial entities in the sky! If this is recognized an entirely different interpretation is possible. This can be called “ancient astronomy” if you like, (it is not secular and by no stretch of imagination can it be called profane).
I have been asked to contribute four chapters on “Astronomy in Vedic Texts” for the proceedings of the forthcoming Intnl. Conf. on Oriental astronomy, (Pune, Nov 2016) organized by TIFR. I am sharing with BVP members a part of my article on “eclipses”. Please read on...
Regards
RN Iyengar
Marriage of Sūryā with Soma
Hymn RV (X.85) is one of the most beautiful poetry in the whole of Vedic literature. This is popularly known as the marriage hymn describing the bridal procession of sūryā for her union with soma the Moon. The implied imagery of a lunar eclipse, hidden beneath the ancient enchanting poetry of the meeting of two celestial persons, is quite apparent from the beginning of the hymn. This hymn also presents a window to one of the esoteric cosmic thought that forms the basis of Hindu mysticism. There are forty-seven verses in this long hymn. We consider here only those connected with soma which in the adhidaiva sense is the moon as per the orthodox tradition of Yāska[1]. The gist of the astronomical information available is as follows.
Earth is held by truth and the heaven is upheld by Sun. Ādityas depend on the cosmic order, while Moon is stationed in the sky. (1)
Soma the moon is stationed near the nakṣatras. (2)
He who crushes and drinks the juice thinks that the herb is Soma. But only the seers know the real nature of the regent deity of Soma (the moon). (3)
Soma! You are protected by seven layers of covers. Humans cannot take part in drinking you. (4)
Soma! Whereas the gods drink you, you become bright again. The wind protects the Soma, while moon is the creator of the years. (5)
The above five verses introduce moon as the object of the hymn. The next seven verses (v.6-12) describe the travel of Sun’s daughter sūryā in the sky towards her husband the Moon, in abstract terms. Her friends were Lauds and Hymns; her dress was made of Sāma music; her chariot was the Mind and her cover was the Sky. Two bright objects (śukrau) were the bullocks drawing her cart. In other words she was really invisible, till the poet was able to see her dress in colour much later in verse (v.35). In this picture the two aśvins appear as visible, hinting them to be twin stars witnessing the act. Verse (v.13) provides the locus of the celestial marriage through a metaphor.
sūryāyā vahatuḥ prāgāt savitā yam avāsṛjat|
aghāsu hanyante gāvo’rjunyoḥ paryuhyate || (X.85.13)
Traditionally this is rendered to mean:
The bullocks of the cart with the wedding gifts were whipped in the Maghā asterisms. Sūryā was carried to her husband’s place in the Arjunī asterisms.
This is the literal meaning given by Sāyaṇa also [Pl see below for the Sanskrit commentary]. But in view of the context of the night sky being pictured, the word gāvaḥ in the adhidaiva sense should mean rays or light, which is an accepted meaning of the word as per the Nirukta[2]. This leads to the direct meaning:
The light rays (of moon) are hit in passing through the Maghā stars, while sūryā is carried over by moon in the Arjunī stars.
This in plain language means the shadow on the moon started near group of six stars called Maghā the brightest among them being the ecliptic star Regulus. The eclipsed moon progressed in time towards Arjunī which refers to the two stars of the Pūrva-phalguni nakṣatra. In summary the eclipse was in the constellation Leonis. The next verse (v.14) mentions that when aśvins arrived asking for sūryā, their request was supported by viśvedevāḥ. We are not sure of the role of aśvins in the sky picture, other than inferring they should have been two closely spaced stars, but mention of viśvedevāḥ probably indicates a connection with their characteristic number 3339. Verses (18 & 19) are about the playful nature of sun and moon, where the property of being reborn is associated with the moon. The hymn from (v.20) onwards digresses on to the marriage of humans except in a few places where sūryā is referred. For example (v.35) is about the visible form of the three-fold dress of sūryā the pollution due to which only a seer can relieve. Similarly the upper cloth of a human bride is said to be afflicted by a deity, dark coppery red in colour. This reference to coppery red in relation to sūryā can be inferred to be the colour of the moon’s orb as seen from earth during a total eclipse. We have seen previously that viśvedevāḥ are the deities who bring agni. In verses (38-41) sūryā is said to have been given to agni by the gandharva who in turn got her from soma. The hymn presents a picture of the night sky, with moon being visible. Circumstances describing the journey of Sun’s daughter, named suryā to marry moon and the coppery red colour of the apparition indicate a total lunar eclipse. Mystically, this event highlights the cosmic agni-soma union.
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sunil bhattacharjya
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BVKSastry(Gmail)
Namaste
Thanks Prof. RNI for connecting the statement under discussion - अघासु हन्यन्ते गावः - RV (x.85) the Sūryā-vivāha sūkta - in a context sensitive way to Veda and Astronomy ( Kha-Gola- adhyaya ganita) linked perspective from Vedanga –Jyotisha for Exploration. And you have rightly pointed the context of this sukta : < There are forty-seven verses in this long hymn. We consider here only those connected with soma which in the adhidaiva sense is the moon as per the orthodox tradition of Yāska > .
The visualization in adhi-daiva sense pointed by you is : < moon as the object of the hymn- The next seven verses (v.6-12) describe the travel of Sun’s daughter sūryā in the sky towards her husband the Moon, in abstract terms…. Mystically, this event highlights the cosmic agni-soma union. >. Now, If I connect your observation to note-point of Sunil Bhattacharya,
Sunil Bhattacharya: < If Surya marries Soma, what will happen to Soma' s 27 wives? …It is said that to interpret Veda properly, one has to have knowledge of Purana. Any way out of this riddle >
Then, we need to see what is the ‘ Pedagogic logic and necessity for Bharateeya Paramparaa to tag the ‘ use of Purana –mysticism/ mythology/ narratives’ to the understanding of ‘Vedas’ ? – itihAsa –purANAbhyAm vedArtham samupabruMhayet ? The literal word ‘ sam- upa- bruMhayet’ – is a command with emphatic two upasargas, and a directive to enhance –explain- expand . What is this ‘ Veda- Vyasa guided linguistic pedagogy, which has been followed by all Acharyas prior to colonial period’ , if the ‘ Panini-Patanjali-Yaska’ rules books are taken out arguing ‘historicity and language –social stratification’? which are the foundational arguments used by colonial writers and translators to re-engineer Vedas ? (See: http://en.satyavedapusthakan.net/2013/01/24/considering-the-purusasukta-the-song-of-praise-of-man/ - This is just an example, and may not be exactly authentic and academic; may even be derogatory ). This is where I am seeking your additional inputs:
RNI: < When the same word gives different meanings, it is generally said that one must take the meaning suited to the context. In some cases the context itself may be unclear to a modern reader. It is also possible the RV poets have introduced multiple shades of mystical and/or intuitive meanings in their natural extempore outpourings. The above RV Sūkta is one such inspired poetry, in my understanding. The context is marriage, but between two celestial entities in the sky! If this is recognized an entirely different interpretation is possible. This can be called “ancient astronomy” if you like, (it is not secular and by no stretch of imagination can it be called profane). >
I am furthering this thread of interpretative exploration and seek your further inputs: Assuming for argument sake, RV –x.85 of an earlier period found an express practical usage in a ‘ Marriage –Samskara’ of human society through the works of ‘Dharma Shaastra (-Gruhya ?) and got in to Vivaha Samskara-Vidhi, as a part of ‘Vedic Marriage Ritual’ in as early period as ‘ Mahabharata’ , what could have been the reasoning to connect ‘ a mystic (celestial) union to a mundane (Human engagement) event’ ?
A decade ago, there was a workshop conducted at Udupi, on the theme ‘ Veda- Inexhaustible Infinity of Meanings (Anantaartha vai vedaah)’ - and this was inspired by one of the statements of Acharya Madhwa. The statement of Acharya Madhwa resonates to the linguistic challenges in constructing the layered meaning of ‘Vedas’ and makes a reference to Taittiriya Upanishad, where a five layered approach and use of Vednaga Tools is recommended along with a ‘Yoga-Approach’ to seek meaning and purpose of Vedas. The famous end quote being ‘ ya evam Veda, ya u chainam veda …. Ityupanishat’ – One who knows LIKE THIS ( A vedic -pedagogy which seems to have been mysteriously gone underground , a pedagogy which Sayana Maadhava emphatically presents and clarifies in rig-Bhashya bhoomikaa.
May be this dialogue opens gateways to find a strategy to arrive at ‘Yoga way of Studying Samskrutham’ – the Vak-Yoga tradition, gone underground in India by at least three centuries. And this could touch upon the ‘Prayoga- Viniyoga’ aspects of Samskruth studies.
Regards
BVK Sastry
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R. N. iyengar
Thanks Dr BVK for your interest in my methods of understanding some parts of RV. You write:
I am furthering this thread of interpretative exploration and seek your further inputs: Assuming for argument sake, RV –x.85 of an earlier period found an express practical usage in a ‘ Marriage –Samskara’ of human society through the works of ‘Dharma Shaastra (-Gruhya ?) and got in to Vivaha Samskara-Vidhi, as a part of ‘Vedic Marriage Ritual’ in as early period as ‘ Mahabharata’ , what could have been the reasoning to connect ‘ a mystic (celestial) union to a mundane (Human engagement) event’ ?
It is not always easy to find cogent one-to-one reason for a particular practice, the pale contour of which is still present in the current rituals and rites. Vaidika Vivaaha is mundane if you mean it is on Earth between human beings. At present it is more a social function, semi-religious, with little esoteric & mystical overtones, except when a knowledgeable bridegroom likes to maintain the Agni and carry on Vedic rites, such as दर्शपूर्णमास || गृह्यसूत्र do reflect considerable hidden esoteric principles in them even though RV(X.85) may not be directly traceable there (Note: I have not yet investigated this point in detail, but I vaguely recollect reference to sūryā in As'va.GS]. But sūryā in the sense of 'wife/consort' is used in the Bhagavatha 10th book I chapter. In the Svapnavaasavadatta of Bhaasa the marriage hall in the last act is named 'सूर्यामुख-प्रासाद '.
My present understanding of the 'eclipse' related imagery is that the vaidika marriage is a union of Agni (female) and Soma (male) on earth as a reflection of the cosmic act. After all some Vedic texts ordain that 'humans have to do what gods do', which is a way to synchronize human activities with the cosmic rhythm. In the RV the solar eclipse is quite clear (due to enveloping darkness in the morning), but the lunar is not so direct unless we look into the number 3339 in two places; the Saucika hymns etc. Also the question has to be asked why दर्शपूर्णमास is supposed to have been prescribed by RV also [yajñam vyākhyāsyāmaḥ||…..ṛgvedayajurvedābhyām darśapūrṇamāsau || Āpastamba-paribhāṣā-sūtra (1-4)], even though no direct evidence can be found in the RV text, except for a few mantras from Saucīka hymns are prescribed. Further "reasoning" quickly demands (relative) historical perspective of RV and other Vedic texts, even to propose a working hypothesis for further investigations.
best..
RNI