Vedic Structure

 

Structure of Rigveda

The Rigveda consists of approximately 10,600 Mantras. This Veda is systematized in two ways. One method is to divide the entire Veda into eight parts, called ashtakas and each ashtaka, in turn, is divided into eight chapters. Therefore it can be said that this method of division is on „mode – 8‟. Each chapter has several sections and the number of these sections varies from 221 to 331. Finally, each section has Mantras ranging from 1147 to 1730. 

In the second method, the Veda is divided into 10 divisions (Mandalas). Each division consists of subdivisions (Anuvaaka) ranging from 4 to 24. Each subdivision consists of a number of suktas ranging from 43 to 191. Finally, each sukta is nothing but a collection of Mantras. There is an advantage in the latter method of organization. Each Mandala is associated with definite Rishis. For example, the first Mandala consists of works of fifteen different authors. Their works do not appear in any other Mandala. Hence, the Mandalas are author-oriented. It only means that this sort of organization is very close, in purpose, to modern day technique of arranging and classifying books. 

The arrangement of suktas also follows a different order. The first sukta addresses Agni, followed by Indra and so on. On the whole, the method of organization is either author- oriented or god- oriented. This type of organization has distinct advantage even from the point of view of tradition. Since Mandala is Rishi-oriented (or author-oriented) and sukta is god-oriented, any particular sukta is conditioned by these two features. Every sukta is attributed to the one who addresses and the god who is addressed and this god is the presiding deity of that sukta. 

Third dimension is meter to which the sukta is set. With meter is associated intonation. Intonation is something, which can be picked up surely not by reading, but by listening and practice. In this respect, chanting of the Vedic hymns resembles music. Apart from intonation, priority was given to method. There are six methods of chanting. The same Mantra is chanted in six different ways. These methods with some sort of formula are mentioned below.

The Rigveda consists of suktas, which were specially meant to be chanted only when yagas were performed. There are ten such suktas, which are called „Apree sukta’. While performing yaga, there was one more specification. It was not the job of any one person to chant all the Mantras. It was always a team consisting of four members who had a definite role to play. Members are called ritwijas. Their designation and responsibilities are mentioned below.

Name and Responsibility 

1 Hotru Initiating the program and invoking respective gods to accept. HAVIS (which is dedicated to a particular god) 

2 Adhvaryu One who utters Swaaha and simultaneously adds sacred material to the sacred fire (Agni Kunda) 

3 Udgatru Chants Mantras in high pitch 

4 Brahma The presiding officer who ensures smooth running of the program

Samhitas

Gods - Prithivi and Nadi (river) from Prithivi stratum; Indra, Vayu, Parjanya, Apaha and Apamnapat from Antarikasha Stratum and Varuna, Surya and Savitru from Dyu statrum. No god enjoyed the same status throughout. The numbers of suktas actually determine their ranks at any given time. From this angle, among gods of Prithivi stratum, Agni is supreme. There are two hundred suktas dedicated to this one god. Agni is all pervasive in wood, Jatharagni in animals, etc. These forms are confirmed to the earth. In mid-air (Anthariksha) Agni is present in the form of lightning and in Dyuloka (deep space) Agni is in the form of Surya. The third form of Agni is supposed to be superior to the rest. Here first identification is achieved. In his third form Agni is the same as Surya. If Agni is equated with energy, and it is perfect to equate so, then he becomes the Lord of the Universe. This is a poetic usage. In fact, the Rigveda is full of such usages. Hence it is very important to extract what appears to be a sound measure according to science and philosophy. Accordingly, Lord of the Universe is to be understood as the prime source, i.e., energy, which is all-pervasive as far as physics is concerned. He is identified not only with Surya but also with Varuna, Rudra, Maruta, etc.

There is only one sukta, which is dedicated to Prithivi alone. But if we consider the spirit with which Prithivi is propitiated, then we will understand that its significance is by no means undermined. There are other suktas in which Prithvi is propitiated in conjunction with another god, viz, Dyuhu. Though this association, there is an unconscious attempt to depict the origin of life. There was, and is, no other way to explain the origin of life. It shows that the Rigveda attempted to discover not only the origin of the Universe but also life. The association between Dyuhu and Prithivi is so strong, according to the Rigveda, that they are treated as pair always. This point becomes clear when we learn that these two gods are addressed as dyavaaprithivi. Sayana puts it in a slightly different manner. He calls it dviroopaa prithivi, i.e., two forms of Prithivi.

 A significant aspect of the Rigveda is the importance of rivers recognized by the Veda. The rivers which find places in the Veda are very few; Saraswati, Sarayu, Sindhu, Ganga, Yamuna, Shutudri, Parushri, Mardvridhe and Arjikiye. The river Saraswati is not only the principal source of life but also of knowledge. Agni is the most sought after among the gods of Prithivi and Indra corresponds to Agni among the gods of mid-air. There are two hundred and fifty suktas in praise of Indra. If we put together the suktas dedicated to Agni and Indra, then they will occupy a little less than half of the Rigveda. Indra is essentially a war-god.

Vayu (air), Parjanya (cloud) and Apaha (water) together because the very possibility of life depends partially on these natural things. In some places instead of Vayu, the Veda uses another name vata. In Nasadiya sukta, it is hinted that Vata is another name for Vayu. There are three suktas in Rigveda, which exclusively propitiate Vayu; elsewhere Vayu is propitiated in conjunction with other gods. Two attributes of Vayu puzzled the Aryans; motion and all pervasiveness. Whenever they experienced puzzle they say divinity. This is (Vayu) one example. One sukta addressed to Parjanya is interesting. The suktas which address Parjanya contain references to a cow which gives milk and a cow which does not. Parjanya is glorified by comparison with cow which gives milk. Milk indicates rainfall and cow symbolizes Parjanya. After all, there could be no rains without clouds. So this takes us to Apaha (water). In one sense Parjanya, Apaha and Nadi gods are related. How can clouds shower rainfall? This phenomenon explains partly in straight language and partly in poetic language. Due to the Sun‟s heat water gets evaporated and the cloud is filled with water vapour, which returns as rains. This explanation is factual. This is followed by poetic description; Indra used sword (vajrauidha) to dissect the clouds to release water imprisoned inside. Such poetic expressions on many occasions have given rise to difficulties.

Apaamnapat in a unique god. It is an instance of two gods merging into one god. Apaamnapat is Agni present in water while many gods can be directly related to nature and some indirectly; in some other cases (like the present one) it is not possible to find any correlation.

Among the gods of Dyuhu stratum Varuna, Surya and Savitru are important. Varuna’s function is to maintain rita. Twelve suktas praise Varuna. The distinction in functions which Indra and Varuna discharge is rather subtle in expression when expressed in Sanskrit destruction of „vritra’ and protection of „RITA’. It should be noted that in pronunciation there is very subtle difference. Like any other god, Varuna also is omnipresent and substratum of all.

Surya and Mitra do not denote separate gods. Not only Mitra, but also Varuna and Agni are regarded as one god by the Rigveda. If we regard function as the parameter, then even that difference cannot be traced between Surya and Mitra. For one reason, Surya supersedes all other gods. All other gods need not be propitiated every day. But then Surya is propitiated every day. Identity with anything brings with it sentiments or emotions. It is the origin of poetry. This is what happens in Vedic literature. Surya is regarded as the eye of the gods. Ushas symbolizes twilight. Day begins only when Surya followed twilight. Hence, the imagination that Ushas brings Surya. Perhaps, whole of the Rigveda is in the poem-style for this reason. When poetry reigns, philosophy takes back seat.

Eleven suktas are reserved for propitiating Savitru. Again, distinction between Surya and Savitru is blurred. Savitru not only lights the world but also enlightens the inner world of man. 6 Savitru is one god, which stimulates intellect. In these respects, Surya is treated on par with Savitru. One more aspect with respect to gods has to be mentioned. There are male gods and also female gods. Ushas, Saraswati, Prithivi are a few among them. While male gods are characterized by activity, valour and exercise of authority, female gods are characterized by grace, mercy, sustenance, nursing and so on. It is likely that even during those days woman was adept at nursing both body and mind. It is perfectly understandable that man imagines god in his own mould because he cannot imagine god in any other mould.

Brahmanas

The word „Brahmana’ is used here in neuter gender. This word refers a class of literature called liturgical literature. These works are essentially prosaic contrary to Mantras found in Samhitas. The main content of the Brahmanas is to specify prescriptions (Vidhi) and proscriptions (Nishedha) while performing yagas. All Vedas, in course of time gave rise to Brahmanas. 

Two Brahmanas originated from the Rigveda. One Mahidasa Aitareya composed „aitareya brahmana’. „kaushitaki brahmana’ is another. The authorship of the latter is not known. Some scholars say that Kaushitaki Brahmana is the same as Shankhayana Brahmana. According to Aitareya Brahmana, one yaga called agnishtoma is primary and all other yagas are its different forms, sometimes distorted also. Therefore, the description of this yaga is given in detail. However, Aitareya Brahmana is neither spiritual nor philosophical. Indeed, this criticism applies to all Brahmanas. From this Brahmana another aspect becomes clear. Chaturvarnya got transformed to caste system at that point of time only. For example, some Brahmanas clearly mention that shudra can only be a labourer and vaishya can only be an agriculturist.

Aranyakas

Two Aranyakas are associated with the Rigveda; Aitareya and Shankhayana. Though the names of the Brahmanas and the Aranyakas are same, content of one differs from that of the other. An important aspect of Shankhayana Aranyaka is that one chapter is dedicated to the discussion on some aspects of grammar. Last two chapters of this Aranyaka constitute the basis of Aitareya Upanishad. Shankhayana Aranyaka has fifteen chapters of which 3rd to 6th chapters constitute the basis for Kaushitaki Upanishad.

Structure of Yajurveda

The Yajurveda is in two forms, Krishna Yajurveda and Shukla Yajurveda. While Shukla Yajurveda is in verse style, the former is prosaic and also poetic. Perhaps Krishna Yajurveda is so called because of this admixture. However, the reason is not very significant. Both forms have a common goal. This Veda gave utmost prominence to the performance of yaga. In this respect, the Brahmanas of the Rigveda are more in common with the Yajur veda. It is said that Krishna Yajurveda had eighty-five schools out of which only four are extant. They are called (a). Taittiriya (b). Maitrayaneeya (c). Katha and (d) Kapisthala.

Since Yajurveda gives prominence to yagas, there is description of several yagas. It is sufficient to just name them; paurodasha, yajamana, vajapeya, rajasuya, somayaga are some of them. Authoritative commentary on this Veda is written by Sayana, which helps us to understand the significance of yaga. Taithiriya School described these yagas. In addition to this description, it also consists of Ghana paatha just as the Rigveda consists; this was designated in order to simplify the Vedic language, which was complicated at that point of time. Maitrayaneeya School describes ashwamedha yaga in addition to the above mentioned yagas.

The Shukla form also describes all yagas mentioned earlier. In addition, it gives a detailed description of the construction of altar; number of bricks required and shape of the altar. From this Veda, we can understand that everyone is not eligible to perform any and every yaga. There are three chapters, which are devoted to one yaga known as sautramani can be performed by a dethroned king, or a lover of cattle or a person who does not have access to Soma drink. The specification also says that after the yaga is completed, he should drink Somarasa. 

Significance is attached to the description of the killing of Purusha. There are conflicting versions about this description. According to one version, the description is only symbolic. By Purusha if we understand man, then it does not really mean that man was sacrificed. According to another version, human sacrifice was not something uncommon because there is a reference to human sacrifice in Aitareya Brahmana. An interesting and incredible corollary is that in those days human sacrifice was not necessarily a taboo. This conclusion substantiates what was said earlier (Unit 3, 3.2) that the Vedic thought is to a large extent an extension of tribal culture. Therefore even if it is possible to prove that Purushamedha is only symbolic, it is not sufficient to prove that human sacrifice was not unknown.

Brhamans

The Brahmanas which belong to the Yajurveda are extant; Taittiriya belongs to Krishna Yajurveda and Shatapatha belongs to Shukla Yajurveda . References are made to another Brahmana called Kaathaka which is extinct. These Brahmanas are extensions of respective samhitas. Hence the content remains more or less the same but for a few additions. It is sufficient to mention these additions. Among yagas „nakshatreshti’ is an addition. It includes the description of twenty-eight stars. Among them fourteen are called deva and the remaining Yama. The second aspect is the specification of Mantras, which have to be chanted during ceremonies like coronation, chariot ascending, etc. Two conclusions can be drawn; one, monarchy was held to be very important and second, performing yagas was sacred. This was in tune with the spirit of the Yajurveda. In fact, the number of yagas mentioned in the Brahmana is quite big. The most interesting yaga, however, is Vishwasruja, which was performed, purportedly, for one thousand years by the gods. As the name itself indicates the universe came into existence thanks to the performance of the yaga. We find here an attempt to explain the birth of the universe. This particular aspect needs attention. Religion and mythology assert that the whole universe was created instantly, which is, surely, incredible. 

Shukla Yajurveda has two schools; kaanva and madhyandina. Shatapatha Brahmana belongs to both these systems. First reference to Pitru yajna can be discerned in this Brahmana. Pitru yajna is regarded as one of the pancha yajnas, the other four being deva, atithi, brahma yajnas and bhootabali. Study of the Vedas is called Brahma yajna. Bhootabali is offer of food to all creatures. Shatapatha Brahmana is so called because it has one hundred chapters. It is said to be the most exhaustive work in this field. Hence it provides more information than any other Brahmana. This particular Brahmana gives a very different description of yaga. According to this interpretation, any yaga has two faces; physical or external (bahiryaga) and psychological or internal (antaryaga). It is difficult to decide whether the latter can also be called spiritual. Accordingly, sacrifice has to be made twice, one for will power or determination and the other for speech because in the absence of any one of them, it is impossible to perform yaga. To maintain independence and hence co-operation of „will‟ and „speech‟ it is necessary to use separate instruments for two acts of sacrifice. sruva is the equipment used to offer sacrifice, which represents will power. Likewise, srak is meant for speech. There is difference in posture also. Sacrifice, which is associated with will power, should be made while sitting and the second one has to be made while standing. 

Aranyakas

Brihadaranyaka and Taittiriya Aranyakas are two Aranyakas, which belong to this Veda. The first one is also an Upanishad. Since it will be taken up for discussion later, it can be omitted for the time being. The Aranyakas do not constitute distinct texts. Any Aranyaka, for that matter, is restricted only to discussions often on matters pertaining to inner significance of yagas, and this discussion matured later in the Upanishads. Taittiriya Aranyaka is important only for one 10 reason. Two pramanas (ways of knowing), which become prominent later, viz.,Pratyaksha’ and „Anumana’ are use for the first time.

Structure of Samaveda

This Veda has two parts; purvaarchika and uttaraarchika. Aarchika means collection of Riks or Mantras. Instead of Samhita, the word Aarchika is used here. First part has six hundred and fifty Mantras and second part has one thousand two hundred Mantras. However, some Mantras of Purvaarchika (Prior collection) have been repeated in Uttaraarchika (Posterior collection). If repetition is ignored, then we find approximately one thousand six hundred Mantras. Out of them, only about one hundred are original. The rest of the Mantras have been lifted from the Rigveda. Out of supposed thirteen schools of this Veda, only three are extant; ranaayaneeya, kauthuma and jaimini. Even though this Veda, to a very great extent, is not original with reference to Mantras, it enjoys unique position for two reasons; this was organized for the sake of Udgatru, who has a definite role to play in the proceedings of yaga. Secondly, it set definite tone and style to the chanting of Mantras. It shows that these three Vedas do not compete with each other, but they are mutually complementary. Mantras from the Rigveda, method of execution from the Yajurveda and a definite style of chanting from the Sama may complete the process.

The subject matter is unique in the sense that the style of chanting itself is its theme. The emphasis upon style is so great that it became the source of classical music in India. The Sama Gana is of four types (a). graamageya or chanting in society, (b). Aranyaka Gana or chanting in forests, (c). Ooha Gana, chanting during Soma yaga and (d). Oohya Gana or secret chanting. Perhaps there was no difference between chanting and singing during this period. In each category there are several types and again, this number differs from one school to another. If we put together all varieties, we arrive at a staggering figure; it adds up to more than six thousand types. Philosophically, it does not have any importance. It is not even necessary for our purpose to correlate the notes of Sama with the „Seven Notes (Sapta Swara)‟ of classical music. So we shall only restrict to mere mention of some aspects. Here the Mantras undergo change in six different ways. The changes occur to suit „Sama music‟. 

Samagana itself has five parts: (a). Prastaava (initiating) one who initiates is called Prastotru, (b), Udgeetha sung by udgathru, (c). Pratihaara sung by Pratiharta , (d). Upadrava sung by udgatru and (e). Nidhana sung by the entire team at the end.

Brahmans

There are nine Brahmanas, which belong to the Sama veda, of which only three have survived. Instead of explaining the method of performing yagas, Sama veda explains the structure of „Gana’ with reference to yaga. It shows that the Brahmanas of the Samaveda also are directly related to yagas. In addition, this Veda describes in detail the function of Udgatru, which is not found in other Brahmanas. Tandya Brahmana, which has explained this aspect, has given to us 11 denotation of large numbers. For example, niuta is one million; nyarbuda is for one billion and so on. Another Brahmana called shadvimsha refers to idols and protective measures to be followed at the time of natural calamities. Reference to idols indicates the beginning of idol worship. Samavidhana is third one which serves as reference work to Smrutis and Kalpa Sutras.

Structure of Atharvaveda

Even though the Puranas claim that this Veda was composed by Veda Vyasa, there is no reason to accept this theory if the same Veda Vyasa wrote the Mahabharata. It is a well known fact that this Veda belongs to the post-Mahabharata age. Pippalda, a Rishi, is said to be the founder of this Veda. This particular aspect contradicts the belief that the Vedas are Apaurusheya because this belief does not exclude the Atharvaveda. Surely, it is not possible to hold both Apaurusheya theory and authorship of any Veda, without getting trapped in contradiction. It is said that this Veda had nine schools out of which only two schools viz. Pippalada and Shaunaka have survived.

Brahmans

This particular Veda is wholly independent of liturgy. Hence, nowhere do we find any reference to yaga or reference to gods. However, we cannot conclude that this Veda is wholly secular. There are nearly ten issues described out of which one refers to atonement and another to ultimate truth. In this respect, it comes close to the Upanishads. There are descriptions pertaining to therapy, longevity, routine life, etc. There are references to several diseases like jaundice, tuberculosis, etc. Since therapy included herbal medicines, this Veda must be the source from which Ayurveda developed. Gopatha Brahmana is the only Brahmana, which has survived. This is an exceptional Brahmana because it has nothing to do with yagas, even though there are references to yaga. 12 This Brahmana makes a strange claim that the Atharvaveda is a precondition to the study of other Vedas.

Summary

All Vedas developed from initial stages of Mantras to the Upanishads. In the case of Atharvaveda alone there is quantum jump from „Brahmana‟ to 'Upanishad’. The Mantras of the Rigveda mainly aimed at propitiating gods, whereas the Yajurveda systematized the performance of yaga. Thereby such performance became institutionalized. Thanks to qualifications ascribed to such performance, chaturvarnya became powerful; but women had far more respectable place. Remarriage of widow was permissible. Performing yaga was a way of life. At least one Brahmana has the distinction of discussing cosmology. Human Sacrifice is a debatable issue. The Samaveda is unique because it is said to be the source of music. The Atharvaveda is more secular than any other Veda. While the Samaveda is the source of music, the Atharvaveda is the source of Indian system of medicine, viz., Ayurveda. Hence, all these Vedas put together complete the requirement of human life.