یک دستنوشته ریگودا از سدهٔ نوزده به خط دواناگاری.
ریگودا (به سانسکریت: ऋग्वेद ṛgveda) مجموعهای از اشعار و سرودهای مذهبی هندو به زبان سانسکریت ودایی است و یکی از چهار متن اصلی در مجموعهٔ شنودههای (شروتی) مقدس هندوئیسم یعنی وداها و کهنترین بخش آن است که احتمالاً حدود سالهای ۱۷۰۰ تا ۱۱۰۰ پیش از میلاد در منطقهٔ شمال غربی شبهقاره هند تألیف شده است. ریگودا از کهنترین متون به زبانهای هندواروپایی است و از نظر زبانشناسی و محتوایی پیوند نزدیکی با اوستا دارد. این کتاب شامل ۱۰۱۷ قطعه شعر و ۱۰۵۰۰ بیت است و برخی از بیتهای آن امروزه نیز در دعاهای مراسم دینی هندو استفاده میشود و به این خاطر این متن یکی از کهنترین نوشتههای بشری است که هنوز کاربرد دارد.
در تمثیل مشهوری در ریگودا آدمیان به چهار «وارنا» (کاست، گونه، طبقه) تقسیم میشوند: «در عالم آفرینش، برهمنان و کاهنان سر، فرمانروایان و رزمآوران بازوها، بازرگانان و پیشهوران کمر، و کارگران و بندگان پاهای اندامواره اجتماعی به شمار میروند».
This article is about the collection of Vedic hymns. For the manga series, see RG Veda.
Rigveda (padapatha) manuscript in Devanagari, early 19th century. After a scribal benediction (śrīgaṇéśāyanamaḥ Au3m), the first line has the first pada, RV 1.1.1a (agniṃ iḷe puraḥ-hitaṃ yajñasya devaṃ ṛtvijaṃ). The pitch-accent is marked by underscores and vertical overscores in red.
The text is layered consisting of the Samhita, Brahmanas, Aranyakas and Upanishads.[note 1] The Rigveda Samhita is the core text, and is a collection of 10 books (maṇḍalas) with 1,028 hymns (sūktas) in about 10,600 verses (called ṛc, eponymous of the name Rigveda). In the eight books – Books 2 through 9 – that were composed the earliest, the hymns predominantly discuss cosmology and praise deities. The younger books (Books 1 and 10) in part also deal with philosophical or speculative questions, virtues such as dāna (charity) in society, questions about the origin of the universe and the nature of god, and other metaphysical issues in their hymns.
The text is organized in ten "books", or maṇḍalas ("circles"), of varying age and length. The "family books", mandalas 2–7, are the oldest part of the Rigveda and the shortest books; they are arranged by length (decreasing length of hymns per book) and account for 38% of the text.
The hymns are arranged in collections each dealing with a particular deity: Agni comes first, Indra comes second, and so on. They are attributed and dedicated to a rishi (sage) and his family of students. Within each collection, the hymns are arranged in descending order of the number of stanzas per hymn. If two hymns in the same collection have equal numbers of stanzas then they are arranged so that the number of syllables in the metre are in descending order. The second to seventh mandalas have a uniform format.
The eighth and ninth mandalas, comprising hymns of mixed age, account for 15% and 9%, respectively. The ninth mandala is entirely dedicated to Soma and the Soma ritual.
The hymns in the ninth mandala are arranged by both their prosody structure (chanda) and by their length.
The first and the tenth mandalas are the youngest; they are also the longest books, of 191 suktas each, accounting for 37% of the text. Nevertheless, some of the hymns in mandalas 8, 1 and 10 may still belong to an earlier period and may be as old as the material in the family books. The first mandala has a unique arrangement not found in the other nine mandalas. The first 84 hymns of the tenth mandala have a structure different than the remaining hymns in it.
Hymns and prosody
Each mandala consists of hymns or sūktas (su- + ukta, literally, "well recited, eulogy") intended for various rituals.
The sūktas in turn consist of individual stanzas called ṛc ("praise", pl.ṛcas), which are further analysed into units of verse called pada ("foot" or step).
The hymns of the Rigveda are in different poetic metres in Vedic Sanskrit. The meters most used in the ṛcas are the gayatri (3 verses of 8 syllables), anushtubh (4×8), trishtubh (4×11) and jagati (4×12). The trishtubh meter (40%) and gayatri meter (25%) dominate in the Rigveda.
Tradition associates a rishi (the composer) with each ṛc of the Rigveda. Most sūktas are attributed to single composers. The "family books" (2–7) are so-called because they have hymns by members of the same clan in each book; but other clans are also represented in the Rigveda. In all, 10 families of rishis account for more than 95 per cent of the ṛcs; for each of them the Rigveda includes a lineage-specific āprī hymn (a special sūkta of rigidly formulaic structure, used for rituals.
The surviving form of the Rigveda is based on an early Iron Age collection that established the core 'family books' (mandalas 2–7, ordered by author, deity and meter) and a later redaction, coeval with the redaction of the other Vedas, dating several centuries after the hymns were composed. This redaction also included some additions (contradicting the strict ordering scheme) and orthoepic changes to the Vedic Sanskrit such as the regularization of sandhi (termed orthoepische Diaskeuase by Oldenberg, 1888).
As with the other Vedas, the redacted text has been handed down in several versions, most importantly the Padapatha, in which each word is isolated in pausa form and is used for just one way of memorization; and the Samhitapatha, which combines words according to the rules of sandhi (the process being described in the Pratisakhya) and is the memorized text used for recitation.
The Padapatha and the Pratisakhya anchor the text's true meaning, and the fixed text was preserved with unparalleled fidelity for more than a millennium by oral tradition alone. In order to achieve this the oral tradition prescribed very structured enunciation, involving breaking down the Sanskrit compounds into stems and inflections, as well as certain permutations. This interplay with sounds gave rise to a scholarly tradition of morphology and phonetics.
It is unclear as to when the Rigveda was first written down. The oldest surviving manuscripts have been discovered in Nepal and date to c. 1040 AD. According to Witzel, the Paippalada Samhita tradition points to written manuscripts c. 800-1000 CE. The Upanishads were likely in the written form earlier, about mid-1st millennium CE (Gupta Empire period). Attempts to write the Vedas may have been made "towards the end of the 1st millennium BCE". The early attempts may have been unsuccessful given the Smriti rules that forbade the writing down the Vedas, states Witzel. The oral tradition continued as a means of transmission until modern times.
There is a widely accepted timeframe for the initial codification of the Rigveda by compiling the hymns very late in the Rigvedic or rather in the early post-Rigvedic period, including the arrangement of the individual hymns in ten books, coeval with the composition of the younger Veda Samhitas. This time coincides with the early Kuru kingdom, shifting the center of Vedic culture east from the Punjab into what is now Uttar Pradesh.
The fixing of the samhitapatha (by enforcing regular application of sandhi) and of the padapatha (by dissolving Sandhi out of the earlier metrical text), occurred during the later Brahmana period, in roughly the 6th century BC.
Several shakhas ("branches", i. e. recensions) of Rig Veda are known to have existed in the past. Of these, Śākalya is the only one to have survived in its entirety. Another shakha that may have survived is the Bāṣkala, although this is uncertain.
The surviving padapatha version of the Rigveda text is ascribed to Śākalya. The Śākala recension has 1,017 regular hymns, and an appendix of 11 vālakhilya hymns which are now customarily included in the 8th mandala (as 8.49–8.59), for a total of 1028 hymns. The Bāṣkala recension includes eight of these vālakhilya hymns among its regular hymns, making a total of 1025 regular hymns for this śākhā. In addition, the Bāṣkala recension has its own appendix of 98 hymns, the Khilani.
In the 1877 edition of Aufrecht, the 1028 hymns of the Rigveda contain a total of 10,552 ṛcs, or 39,831 padas. The Shatapatha Brahmana gives the number of syllables to be 432,000, while the metrical text of van Nooten and Holland (1994) has a total of 395,563 syllables (or an average of 9.93 syllables per pada); counting the number of syllables is not straightforward because of issues with sandhi and the post-Rigvedic pronunciation of syllables like súvar as svàr.
Three other shakhas are mentioned in Caraṇavyuha, a pariśiṣṭa (supplement) of Yajurveda: Māṇḍukāyana, Aśvalāyana and Śaṅkhāyana. The Atharvaveda lists two more shakhas. The differences between all these shakhas are very minor, limited to varying order of content and inclusion (or non-inclusion) of a few verses. The following information is known about the shakhas other than Śākalya and Bāṣkala:
Māṇḍukāyana: Perhaps the oldest of the Rigvedic shakhas.
Aśvalāyana: Includes 212 verses, all of which are newer than the other Rigvedic hymns.
Śaṅkhāyana: Very similar to Aśvalāyana
Saisiriya: Mentioned in the Rigveda Pratisakhya. Very similar to Śākala, with a few additional verses; might have derived from or merged with it.
The Rigveda hymns were composed and preserved by oral tradition. They were memorized and verbally transmitted with "unparalleled fidelity" across generations for many centuries. According to Barbara West, it was probably first written down about the 3rd-century BCE. The manuscripts were made from birch bark or palm leaves, which decompose and therefore were routinely copied over the generations to help preserve the text.
Of these thirty manuscripts, nine contain the samhita text, five have the padapatha in addition. Thirteen contain Sayana's commentary. At least five manuscripts (MS. no. 1/A1879-80, 1/A1881-82, 331/1883-84 and 5/Viś I) have preserved the complete text of the Rigveda. MS no. 5/1875-76, written on birch bark in bold Sharada, was only in part used by Max Müller for his edition of the Rigveda with Sayana's commentary.
Müller used 24 manuscripts then available to him in Europe, while the Pune Edition used over five dozen manuscripts, but the editors of Pune Edition could not procure many manuscripts used by Müller and by the Bombay Edition, as well as from some other sources; hence the total number of extant manuscripts known then must surpass perhaps eighty at least.[full citation needed]
Rigveda manuscripts in paper, palm leaves and birch bark form, either in full or in portions, have been discovered in the following Indic scripts:
The various Rigveda manuscripts discovered so far show some differences. Broadly, the most studied Śākala recension has 1017 hymns, includes an appendix of eleven valakhīlya hymns which are often counted with the eighth mandala, for a total of 1028 metrical hymns. The Bāṣakala version of Rigveda includes eight of these vālakhilya hymns among its regular hymns, making a total of 1025 hymns in the main text for this śākhā. The Bāṣakala text also has an appendix of 98 hymns, called the Khilani, bringing the total to 1,123 hymns. The manuscripts of Śākala recension of the Rigveda have about 10,600 verses, organized into ten Books (Mandalas). Books 2 through 7 are internally homogeneous in style, while Books 1, 8 and 10 are compilation of verses of internally different styles suggesting that these books are likely a collection of compositions by many authors.
The first mandala is the largest, with 191 hymns and 2006 verses, and it was added to the text after Books 2 through 9. The last, or the 10th Book, also has 191 hymns but 1754 verses, making it the second largest. The language analytics suggest the 10th Book, chronologically, was composed and added last. The content of the 10th Book also suggest that the authors knew and relied on the contents of the first nine books.
The Rigveda is the largest of the four Vedas, and many of its verses appear in the other Vedas. Almost all of the 1875 verses found in Samaveda are taken from different parts of the Rigveda, either once or as repetition, and rewritten in a chant song form. Books 8 and 9 of the Rigveda are by far the largest source of verses for Sama Veda. Book 10 contributes the largest number of the 1350 verses of Rigveda found in Atharvaveda, or about one fifth of the 5987 verses in the Atharvaveda text. A bulk of 1875 ritual-focussed verses of Yajurveda, in its numerous versions, also borrow and build upon the foundation of verses in Rigveda.
Altogether the Rigveda consists of:
the Samhita (hymns to the deities, the oldest part of the Rigveda)
In western usage, "Rigveda" usually refers to the Rigveda Samhita, while the Brahmanas are referred to as the "Rigveda Brahmanas" (etc.). Technically speaking, however, "the Rigveda" refers to the entire body of texts transmitted along with the Samhita portion. Different bodies of commentary were transmitted in the different shakhas or "schools".
Only a small portion of these texts has been preserved: The texts of only two out of five shakhas mentioned by the Rigveda Pratishakhya have survived.
The late (15th or 16th century) Shri Guru Charitra even claims the existence of twelve Rigvedic shakhas.
The two surviving Rigvedic corpora are those of the Śākala and the Bāṣkala shakhas.
Mandala 1 comprises 191 hymns. Hymn 1.1 is addressed to Agni, and his name is the first word of the Rigveda. The remaining hymns are mainly addressed to Agni and Indra, as well as Varuna, Mitra, the Ashvins, the Maruts, Usas, Surya, Rbhus, Rudra, Vayu, Brhaspati, Visnu, Heaven and Earth, and all the Gods. This Mandala is dated to have been added to Rigveda after Mandala 2 through 9, and includes the philosophical Riddle Hymn 1.164, which inspires chapters in later Upanishads such as the Mundaka.
Mandala 8 comprises 103 hymns to various gods. Hymns 8.49 to 8.59 are the apocryphal vālakhilya. Hymns 1–48 and 60–66 are attributed to the kāṇva clan, the rest to other (Angirasa) poets.
Mandala 9 comprises 114 hymns, entirely devoted to Soma Pavamana, the cleansing of the sacred potion of the Vedic religion.
Mandala 10 comprises additional 191 hymns, frequently in later language, addressed to Agni, Indra and various other deities. It contains the Nadistuti sukta which is in praise of rivers and is important for the reconstruction of the geography of the Vedic civilization and the Purusha sukta which has been important in studies of Vedic sociology. It also contains the Nasadiya sukta (10.129) which deals with multiple speculations about the creation of universe, and whether anyone can know the right answer. The marriage hymns (10.85) and the death hymns (10.10–18) still are of great importance in the performance of the corresponding Grhya rituals.
Of the Brahmanas that were handed down in the schools of the Bahvṛcas (i.e. "possessed of many verses"), as the followers of the Rigveda are called, two have come down to us, namely those of the Aitareyins and the Kaushitakins. The Aitareya-brahmana and the Kaushitaki- (or Sankhayana-) brahmana evidently have for their groundwork the same stock of traditional exegetic matter. They differ, however, considerably as regards both the arrangement of this matter and their stylistic handling of it, with the exception of the numerous legends common to both, in which the discrepancy is comparatively slight. There is also a certain amount of material peculiar to each of them.
Devi sukta, which highlights the goddess tradition of Hinduism is found in Rigveda hymns 10.125. It is cited in Devi Mahatmya and is recited every year during the Durga Puja festival.
The Kaushitaka is, upon the whole, far more concise in its style and more systematic in its arrangement features which would lead one to infer that it is probably the more modern work of the two. It consists of 30 chapters (adhyaya); while the Aitareya has 40, divided into eight books (or pentads, pancaka), of five chapters each. The last 10 adhyayas of the latter work are, however, clearly a later addition though they must have already formed part of it at the time of Pāṇini (c. 5th century BC), if, as seems probable, one of his grammatical sutras, regulating the formation of the names of Brahmanas, consisting of 30 and 40 adhyayas, refers to these two works. In this last portion occurs the well-known legend (also found in the Shankhayana-sutra, but not in the Kaushitaki-brahmana) of Shunahshepa, whom his father Ajigarta sells and offers to slay, the recital of which formed part of the inauguration of kings.
While the Aitareya deals almost exclusively with the Soma sacrifice, the Kaushitaka, in its first six chapters, treats of the several kinds of haviryajna, or offerings of rice, milk, ghee, etc., whereupon follows the Soma sacrifice in this way, that chapters 7–10 contain the practical ceremonial and 11–30 the recitations (shastra) of the hotar. Sayana, in the introduction to his commentary on the work, ascribes the Aitareya to the sage Mahidasa Aitareya (i.e. son of Itara), also mentioned elsewhere as a philosopher; and it seems likely enough that this person arranged the Brahmana and founded the school of the Aitareyins. Regarding the authorship of the sister work we have no information, except that the opinion of the sage Kaushitaki is frequently referred to in it as authoritative, and generally in opposition to the Paingya—the Brahmana, it would seem, of a rival school, the Paingins. Probably, therefore, it is just what one of the manuscripts calls it—the Brahmana of Sankhayana (composed) in accordance with the views of Kaushitaki.
Each of these two Brahmanas is supplemented by a "forest book", or Aranyaka. The Aitareyaranyaka is not a uniform production. It consists of five books (aranyaka), three of which, the first and the last two, are of a liturgical nature, treating of the ceremony called mahavrata, or great vow. The last of these books, composed in sutra form, is, however, doubtless of later origin, and is, indeed, ascribed by Hindu authorities either to Shaunaka or to Ashvalayana. The second and third books, on the other hand, are purely speculative, and are also styled the Bahvrca-brahmana-upanishad. Again, the last four chapters of the second book are usually singled out as the Aitareya Upanishad, ascribed, like its Brahmana (and the first book), to Mahidasa Aitareya; and the third book is also referred to as the Samhita-upanishad. As regards the Kaushitaki-aranyaka, this work consists of 15 adhyayas, the first two (treating of the mahavrata ceremony) and the 7th and 8th of which correspond to the first, fifth, and third books of the Aitareyaranyaka, respectively, whilst the four adhyayas usually inserted between them constitute the highly interesting Kaushitaki (Brahmana-) Upanishad, of which we possess two different recensions. The remaining portions (9–15) of the Aranyaka treat of the vital airs, the internal Agnihotra, etc., ending with the vamsha, or succession of teachers.
Geographical distribution of the Vedic era texts. Each of major regions had their own recension of Rig Veda (Sakhas), and the versions varied.
According to Jamison and Brereton, in their 2014 translation of the Rigveda, the dating of this text "has been and is likely to remain a matter of contention and reconsideration". The dating proposals so far are all inferred from the style and the content within the hymns themselves. Philological estimates tend to date the bulk of the text to the second half of the second millennium.[note 5] Being composed in an early Indo-Aryan language, the hymns must post-date the Indo-Iranian separation, dated to roughly 2000 BC. A reasonable date close to that of the composition of the core of the Rigveda is that of the Mitanni documents of northern Syria and Iraq (c. 1450–1350 BC), which also mention the Vedic gods such as Varuna, Mitra and Indra. Other evidence also points to a composition close to 1400 BC.
The Rigveda's core is accepted to date to the late Bronze Age, making it one of the few examples with an unbroken tradition. Its composition is usually dated to roughly between c. 1500 BC – 1200 BC.[note 6] According to Asko Parpola, the Rigveda was systematized around 1000 BCE, at the time of the Kuru kingdom.
The Rigveda offers no direct evidence of social or political system in Vedic era, whether ordinary or elite. Only hints such as cattle raising and horse racing are discernible, and the text offers very general ideas about the ancient Indian society. There is no evidence, state Jamison and Brereton, of any elaborate, pervasive or structured caste system. Social stratification seems embryonic, then and later a social ideal rather than a social reality. The society was semi-nomadic and pastoral with evidence of agriculture since hymns mention plow and celebrate agricultural divinities. There was division of labor, and complementary relationship between kings and poet-priests but no discussion of relative status of social classes. Women in Rigveda appear disproportionately as speakers in dialogue hymns, both as mythical or divine Indrani, Apsaras Urvasi, or Yami, as well as Apāla Ātreyī (RV 8.91), Godhā (RV 10.134.6), Ghoṣā Kākṣīvatī (RV 10.39.40), Romaśā (RV 1.126.7), Lopāmudrā (RV 1.179.1–2), Viśvavārā Ātreyī (RV 5.28), Śacī Paulomī (RV 10.159), Śaśvatī Āṅgirasī (RV 8.1.34). The women of Rigveda are quite outspoken and appear more sexually confident than men, in the text. Elaborate and esthetic hymns on wedding suggest rites of passage had developed during the Rigvedic period. There is little evidence of dowry and no evidence of sati in it or related Vedic texts.
The Rigvedic hymns mention rice and porridge, in hymns such as 8.83, 8.70, 8.77 and 1.61 in some versions of the text, however there is no discussion of rice cultivation. The term "ayas" (metal) occurs in the Rigveda, but it is unclear which metal it was. Iron is not mentioned in Rigveda, something scholars have used to help date Rigveda to have been composed before 1000 BC. Hymn 5.63 mentions "metal cloaked in gold", suggesting metal working had progressed in the Vedic culture.
Some of the names of gods and goddesses found in the Rigveda are found amongst other belief systems based on Proto-Indo-European religion, while most of the words used share common roots with words from other Indo-European languages. However, about 300 words in the Rigveda are neither Indo-Aryan nor Indo-European, states the Sanskrit and Vedic literature scholar Frits Staal. Of these 300, many – such as kapardin, kumara, kumari, kikata – come from Munda or proto-Munda languages found in the eastern and northeastern (Assamese) region of India, with roots in Austro-Asiatic languages. The others in the list of 300 – such as mleccha and nir – have Dravidian roots found in the southern region of India, or are of Tibeto-Burman origins. A few non-Indo-European words in the Rigveda – such as for camel, mustard and donkey – belong to a possibly lost Central Asian language.[note 7] The linguistic sharing provide clear indications, states Michael Witzel, that the people who spoke Rigvedic Sanskrit already knew and interacted with Munda and Dravidian speakers.
The earliest text were composed in northwestern regions of the Indian subcontinent, and the more philosophical later texts were most likely composed in or around the region that is the modern era state of Haryana.
The text is a highly stylized poetical Vedic Sanskrit with praise addressed to the Vedic gods and chieftains. Most hymns, according to Witzel, were intended to be recited at the annual New Year Soma ritual. The text also includes some nonritual poetry, fragments of mythology, archaic formulas, and a number of hymns with early philosophical speculations. Composed by the poets of different clans, including famed Vedic rishis (sages) such as Vishvamitra and Vasishtha, these signify the power of prestige therewith to vac (speech, sound), a tradition set in place. The text introduced the prized concepts such as Rta (active realization of truth, cosmic harmony) which inspired the later Hindu concept of Dharma. The Rigvedic verses formulate this Rta as effected by Brahman, a significant and non-self-evident truth. The text also contains hymns of "highly poetical value" – some in dialogue form, along with love stories that likely inspired later Epic and classical poets of Hinduism, states Witzel.
According to Nadkarni, several hymns of the Rigveda embed cherished virtues and ethical statements. For example, verses 5.82.7, 6.44.8, 9.113.4, 10.133.6 and 10.190.1 mention truthful speech, truthful action, self-discipline and righteousness. Hymn 10.117 presents the significance of charity and of generosity between human beings, how helping someone in need is ultimately in the self-interest of the helper, its importance to an individual and the society. According to Jamison and Brereton, hymns 9.112 and 9.113 poetically state, "what everyone [humans and all living beings] really want is gain or an easy life", even a water drop has a goal – namely, "simply to seek Indra". These hymns present the imagery of being in heaven as "freedom, joy and satisfaction", a theme that appears in the Hindu Upanishads to characterize their teachings of self-realization.
A widely cited example of such speculations is hymn 1.164.46:
They call him Indra, Mitra, Varuna, Agni, and he is heavenly nobly-winged Garutman.
To what is One, sages give many a title they call it Agni, Yama, Matarisvan.
— Rigveda 1.164.46, Translated by Ralph Griffith
Max Muller notably introduced the term "henotheism" for the philosophy expressed here, avoiding the connotations of "monotheism" in Judeo-Christian tradition.
Other widely cited examples of monistic tendencies include hymns 1.164, 8.36 and 10.31, Other scholars state that Rigveda includes an emerging diversity of thought, including monotheism, polytheism, henotheism and pantheism, the choice left to the preference of the worshipper. and the Nasadiya Sukta (10.129), one of the most widely cited Rigvedic hymns in popular western presentations.
Ruse (2015) commented on the old discussion of "monotheism" vs. "henotheism" vs. "monism" by noting an "atheistic streak" in hymns such as 10.130.
Examples from Mandala 1 adduced to illustrate the "metaphysical" nature of the contents of the younger hymns include:
1.164.34: "What is the ultimate limit of the earth?", "What is the center of the universe?", "What is the semen of the cosmic horse?", "What is the ultimate source of human speech?";
1.164.34: "Who gave blood, soul, spirit to the earth?", "How could the unstructured universe give origin to this structured world?";
1.164.5: "Where does the sun hide in the night?", "Where do gods live?";
1.164.6: "What, where is the unborn support for the born universe?";
1.164.20 (a hymn that is widely cited in the Upanishads as the parable of the Body and the Soul): "Two birds with fair wings, inseparable companions; Have found refuge in the same sheltering tree. One incessantly eats from the fig tree; the other, not eating, just looks on.".
The Vedas as a whole are classed as "shruti" in Hindu tradition.
This has been compared to the concept of divine revelation in Western religious tradition,
but Staal argues that "it is nowhere stated that the Veda was revealed", and that shruti simply means "that what is heard, in the sense that it is transmitted from father to son or from teacher to pupil".
The Rigveda, or other Vedas, do not anywhere assert that they are apauruṣeyā, and this reverential term appears only centuries after the end of the Vedic period in the texts of the Mimamsa school of Hindu philosophy.
The text of Rigveda suggests it was "composed by poets, human individuals whose names were household words" in the Vedic age, states Staal.
According to the Puranic tradition, Ved Vyasa compiled all the four Vedas, along with the Mahabharata and the Puranas. Vyasa then taught the Rigveda samhita to Paila, who started the oral tradition. An alternate version states that Shakala compiled the Rigveda from the teachings of Vedic rishis, and one of the manuscript recensions mentions Shakala.
The authors of the Brāhmana literature discussed and interpreted the Vedic ritual. Yaska was an early commentator of the Rigveda by discussing the meanings of difficult words. In the 14th century, Sāyana wrote an exhaustive commentary on it.
A number of other commentaries (bhāṣyas) were written during the medieval period, including the commentaries by Skandasvamin (pre-Sayana, roughly of the Gupta period), Udgitha (pre-Sayana), Venkata-Madhava (pre-Sayana, c. 10th to 12th centuries) and Mudgala (after Sayana, an abbreviated version of Sayana's commentary).[full citation needed]
The hymn 10.85 of the Rigveda includes the Vivaha-sukta (above). Its recitation continues to be a part of Hindu wedding rituals.
Rigveda, in contemporary Hinduism, has been a reminder of the ancient cultural heritage and point of pride for Hindus, with some hymns still in use in major rites of passage ceremonies, but the literal acceptance of most of the textual essence is long gone. Musicians and dance groups celebrate the text as a mark of Hindu heritage, through incorporating Rigvedic hymns in their compositions, such as in Hamsadhvani and Subhapantuvarali of Carnatic music, and these have remained popular among the Hindus for decades.
According to Louis Renou, the Vedic texts are a distant object, and "even in the most orthodox domains, the reverence to the Vedas has come to be a simple raising of the hat". According to Andrea Pinkney, "the social history and context of the Vedic texts are extremely distant from contemporary Hindu religious beliefs and practice", and the reverence for the Vedas in contemporary Hinduism illustrates the respect among the Hindus for their heritage.
Arya Samaj and Aurobindo movements
In the 19th- and early 20th-centuries, some reformers like Swami Dayananda Saraswati—founder of the Arya Samaj, Sri Aurobindo—founder of Sri Aurobindo Ashram, discussed the Vedas, including the Rig veda, for their philosophies. According to Robson, Dayanand believed "there were no errors in the Vedas (including the Rigveda), and if anyone showed him an error, he would maintain that it was a corruption added later".
Dayananda and Aurobindo interpret the Vedic scholars had a monotheistic conception. Aurobindo attempted to interpret hymns to Agni in the Rigveda as mystical. Aurobindo states that the Vedic hymns were a quest after a higher truth, define the Rta (basis of Dharma), conceive life in terms of a struggle between the forces of light and darkness, and sought the ultimate reality.
The first published translation of any portion of the Rigveda in any European language was into Latin, by Friedrich August Rosen (Rigvedae specimen, London 1830). Predating Müller's first printed edition (editio princeps) of the text by 19 years, Rosen was working from manuscripts brought back from India by Colebrooke. H. H. Wilson was the first to make a translation of the Rig Veda into English, published in six volumes during the period 1850–88. Wilson's version was based on the commentary of Sāyaṇa. Müller published the most studied edition of the Rig Veda Samhita and Padapatha in 6 volumes Muller, Max, ed. (W. H. Allen and Co., London, 1849). It has an English preface The birch bark from which Müller produced his translation is held at The Bhandarkar Oriental Research Institute, Pune, India.
Karl Friedrick Geldner completed the earliest scholarly translation of Rigveda in 1920s, in German. This was published in 1951. Louis Renou completed the first French translation between 1955 and 1969, while Elizarenkova completed a Russian translation between 1989 and 1999. Griffith's English translation came earlier, in 1892. However, Griffith's philology was outdated even in the 19th-century and questioned by scholars. H.D. Velankar's translations published over the 1950s and 1960s were significant improvements over Griffith's translation. Translations of shorter cherrypicked anthologies have been published by Wendy Doniger in 1981, and by Walter Maurer in 1986. According to Jamison and Brereton, these anthologies "tend to create a distorted view of the Rigveda".
The Rigveda is the earliest, the most venerable, obscure, distant and difficult for moderns to understand – hence is often misinterpreted or worse: used as a peg on which to hang an idea or a theory.
— Frits Staal, Discovering the Vedas: Origins, Mantras, Rituals, Insights
Like all archaic texts, the Rigveda is difficult to translate into modern language, "There are no closely contemporary extant texts, which makes it difficult to interpret." 
and early translations contained straightforward errors. Another issue is the choice of translation for technical terms such as mandala, conventionally translated "book", but more literally rendered "cycle". In 1994, Barend A. van Nooten and Gary B. Holland published the first attempt to restore Rigveda in its entirety in the poetic form. They identified elements that appeared to them as inappropriate combinations and obscuring the meaning of the text. They reconstructured the text into a poetic form.
Some notable translations of the Rig Veda include:
Partial translation with 121 hymns (London, 1830). Also known as Rigveda Sanhita, Liber Primus, Sanskrite Et Latine (ISBN978-1275453234). Based on manuscripts brought back from India by Henry Thomas Colebrooke.
Pandit H.P. Venkat Rao, LaxmanAcharya and a couple of other Pandits
Sources from Saayana Bhashya, SkandaSvami Bhashya, Taittareya Samhita, Maitrayini Samhita and other Samhitas. The Kannada translation work was commissioned by Maharaja of Mysore HRH Jayachama Rajendra Wodeyar. The translations were compiled into 11 volumes.
Partial translation published by B. R. Publishing (ISBN9780836427783). The work is in verse form, without reference to the original hymns or mandalas. Part of Great Epics of India: Veda series, also published as The Holy Vedas.
The Holy Vedas: A Golden Treasury
Pandit Satyakam Vidyalankar
H. H. Wilson, Ravi Prakash Arya and K. L. Joshi
4-volume set published by Parimal (ISBN978-81-7110-138-2). Revised edition of Wilson's translation. Replaces obsolete English forms with more modern equivalents (e.g. "thou" with "you"). Includes the original Sanskrit text in Devanagari script, along with a critical apparatus.
^According to Edgar Polome, the Hittite language Anitta text from the 17th-century BCE is older. This text is about the conquest of Kanesh city of Anatolia, and mentions the same Indo-European gods as in the Rigveda.
^ It is certain that the hymns post-date Indo-Iranian separation of ca. 2000 BC and probably that of the relevant Mitanni documents of c. 1400 BC. The oldest available text is estimated to be from 1200 BC. Philological estimates tend to date the bulk of the text to the second half of the second millennium:
Max Müller: "the hymns of the Rig-Veda are said to date from 1500 B.C."
Thomas Oberlies (Die Religion des Rgveda, 1998, p. 158) based on 'cumulative evidence' sets a wide range of 1700–1100 BC. Oberlies (1998:155) gives an estimate of 1100 BC for the youngest hymns in book 10.
^The total number of verses and meter counts show minor variations with the manuscript.
^Max Müller's proposed, "the hymns of the Rig-Veda are said to date from 1500 BC"
^Oberlies (1998:155) gives an estimate of 1100 BC for the youngest hymns in book 10. Estimates for a terminus post quem of the earliest hymns are far more uncertain. Oberlies (p. 158) based on 'cumulative evidence' sets wide range of 1700–1100. The Encyclopedia of Indo-European Culture (s.v. Indo-Iranian languages, p. 306) gives 1500–1000 BC.
^Examples: Verse 1.164.34, "What is the ultimate limit of the earth?", "What is the center of the universe?", "What is the semen of the cosmic horse?", "What is the ultimate source of human speech?" Verse 1.164.34, "Who gave blood, soul, spirit to the earth?", "How could the unstructured universe give origin to this structured world?" Verse 1.164.5, "Where does the sun hide in the night?", "Where do gods live?" Verse 1.164.6, "What, where is the unborn support for the born universe?"; Verse 1.164.20 (a hymn that is widely cited in the Upanishads as the parable of the Body and the Soul): "Two birds with fair wings, inseparable companions; Have found refuge in the same sheltering tree. One incessantly eats from the fig tree; the other, not eating, just looks on."; Rigveda Book 1, Hymn 164 Wikisource; See translations of these verses: Stephanie W. Jamison; Joel Brereton (2014). The Rigveda: 3-Volume Set. Oxford University Press. ISBN978-0-19-972078-1.
^ abAntonio de Nicholas (2003), Meditations Through the Rig Veda: Four-Dimensional Man, ISBN978-0595269259, pp. 64–69; Jan Gonda, A History of Indian Literature: Veda and Upanishads, Volume 1, Part 1, Otto Harrassowitz Verlag, ISBN978-3447016032, pp. 134–135;
^ abcdPincott, Frederic (1887). "The First Maṇḍala of the Ṛig-Veda". Journal of the Royal Asiatic Society. Cambridge University Press. 19 (04): 598–624. doi:10.1017/s0035869x00019717. |access-date= requires |url= (help)
^H. Oldenberg, Prolegomena,1888, Engl. transl. New Delhi: Motilal 2004
^K. Meenakshi (2002). "Making of Pāṇini". In George Cardona, Madhav Deshpande, Peter Edwin Hook (eds.). Indian Linguistic Studies: Festschrift in Honor of George Cardona. Motilal Banarsidass. p. 235. ISBN978-81-208-1885-9.CS1 maint: uses editors parameter (link)
^ abcdeWitzel, Michael (2003). "Vedas and Upanisads". In Flood, Gavin (ed.). The Blackwell Companion to Hinduism. Blackwell Publishing Ltd. pp. 68–69. ISBN978-0631215356. The Vedic texts were orally composed and transmitted, without the use of script, in an unbroken line of transmission from teacher to student that was formalized early on. This ensured an impeccable textual transmission superior to the classical texts of other cultures; it is, in fact, something like a tape-recording of ca. 1500–500 BC. Not just the actual words, but even the long-lost musical (tonal) accent (as in old Greek or in Japanese) has been preserved up to the present. On the other hand, the Vedas have been written down only during the early second millennium CE, while some sections such as a collection of the Upanishads were perhaps written down at the middle of the first millennium, while some early, unsuccessful attempts (indicated by certain Smriti rules forbidding to write down the Vedas) may have been made around the end of the first millennium BCE
^The oldest manuscript in the Pune collection dates to the 15th century. The Benares Sanskrit University has a Rigveda manuscript of the 14th century. Older palm leaf manuscripts are rare.
^Michael Witzel says that "The RV has been transmitted in one recension (the śākhā of Śākalya) while others (such as the Bāṣkala text) have been lost or are only rumored about so far." Michael Witzel, p. 69, "Vedas and Upaniṣads", in: The Blackwell Companion to Hinduism, Gavin Flood (ed.), Blackwell Publishing Ltd., 2005.
^Maurice Winternitz (History of Sanskrit Literature, Revised English Translation Edition, 1926, vol. 1, p. 57) says that "Of the different recensions of this Saṃhitā, which once existed, only a single one has come down to us." He adds in a note (p. 57, note 1) that this refers to the "recension of the Śākalaka-School."
^Sures Chandra Banerji (A Companion To Sanskrit Literature, Second Edition, 1989, Motilal Banarsidass, Delhi, pp. 300–301) says that "Of the 21 recensions of this Veda, that were known at one time, we have got only two, viz. Śākala and Vāṣkala."
^Maurice Winternitz (History of Sanskrit Literature, Revised English Translation Edition, 1926, vol. 1, p. 283.
^Mantras of "khila" hymns were called khailika and not ṛcas (Khila meant distinct "part" of Rgveda separate from regular hymns; all regular hymns make up the akhila or "the whole" recognised in a śākhā, although khila hymns have sanctified roles in rituals from ancient times).
^Hermann Grassmann had numbered the hymns 1 through to 1028, putting the vālakhilya at the end. Griffith's translation has these 11 at the end of the eighth mandala, after 8.92 in the regular series.
^cf. Preface to Khila section by C.G.Kāshikar in Volume-5 of Pune Edition of RV (in references).
^These Khilani hymns have also been found in a manuscript of the Śākala recension of the Kashmir Rigveda (and are included in the Poone edition).
^equalling 40 times 10,800, the number of bricks used for the uttaravedi: the number is motivated numerologically rather than based on an actual syllable count.
^A copy of the Rigveda samhita Books 1 to 3 in Tamil Grantha script is preserved at the Cambridge University Sanskrit Manuscript Library (MS Or.2366). This talapatra palm leaf manuscript was likely copied sometime between mid-18th and late-19th-century. Ṛgveda Saṃhitā (MS Or.2366), University of Cambridge, UK
^('Veda and Vedanta', 7th lecture in India: What Can It Teach Us: A Course of Lectures Delivered Before the University of Cambridge, World Treasures of the Library of Congress Beginnings by Irene U. Chambers, Michael S. Roth.
^Oldenberg 1894 (tr. Shrotri), p. 14 "The Vedic diction has a great number of favourite expressions which are common with the Avestic, though not with later Indian diction. In addition, there is a close resemblance between them in metrical form, in fact, in their overall poetic character. If it is noticed that whole Avesta verses can be easily translated into the Vedic alone by virtue of comparative phonetics, then this may often give, not only correct Vedic words and phrases, but also the verses, out of which the soul of Vedic poetry appears to speak."
^Bryant 2001:130–131 "The oldest part of the Avesta... is linguistically and culturally very close to the material preserved in the Rigveda... There seems to be economic and religious interaction and perhaps rivalry operating here, which justifies scholars in placing the Vedic and Avestan worlds in close chronological, geographical and cultural proximity to each other not far removed from a joint Indo-Iranian period."
^Mallory 1989 p. 36 "Probably the least-contested observation concerning the various Indo-European dialects is that those languages grouped together as Indic and Iranian show such remarkable similarities with one another that we can confidently posit a period of Indo-Iranian unity..."
^Mallory 1989 "The identification of the Andronovo culture as Indo-Iranian is commonly accepted by scholars."
^ abStephanie Jamison and Joel Brereton (2014), The Rigveda : the earliest religious poetry of India, Oxford University Press, ISBN978-0199370184, pp. 6–7
^Michael Witzel (1996), Little Dowry, No Sati: The Lot of Women in the Vedic Period, Journal of South Asia Women Studies, Vol 2, No 4
^Stephanie Jamison and Joel Brereton (2014), The Rigveda : the earliest religious poetry of India, Oxford University Press, ISBN978-0199370184, pp. 40, 180, 1150, 1162
^Chakrabarti, D.K. The Early Use of Iron in India (1992) Oxford University Press argues that it may refer to any metal. If ayas refers to iron, the Rigveda must date to the late second millennium at the earliest.
^ abStephanie Jamison and Joel Brereton (2014), The Rigveda : the earliest religious poetry of India, Oxford University Press, ISBN978-0199370184, p. 5
^Stephanie Jamison and Joel Brereton (2014), The Rigveda : the earliest religious poetry of India, Oxford University Press, ISBN978-0199370184, p. 744
^Stephanie Jamison and Joel Brereton (2014), The Rigveda : the earliest religious poetry of India, Oxford University Press, ISBN978-0199370184, pp. 50–57
^among others, Macdonell and Keith, and Talageri 2000, Lal 2005
^Michael Witzel (2012). George Erdosy (ed.). The Indo-Aryans of Ancient South Asia: Language, Material Culture and Ethnicity. Walter de Gruyter. pp. 98–110 with footnotes. ISBN978-3-11-081643-3., Quote (p. 99): "Although the Middle/Late Vedic periods are the earliest for which we can reconstruct a linguistic map, the situation even at the time of the Indua Civilisation and certainly during the time of the earliest texts of the Rigveda, cannot have been very different. There are clear indications that the speakers of Rigvedic Sanskrit knew, and interacted with, Dravidian and Munda speakers."
^ abStephen Phillips (2009), Yoga, Karma, and Rebirth: A Brief History and Philosophy, Columbia University Press, ISBN978-0231144858, p. 401
^Garry Trompf (2005), In Search of Origins, 2nd Edition, Sterling, ISBN978-1932705515, pp. 60–61
^Thomas Paul Urumpackal (1972), Organized Religion According to Dr. S. Radhakrishnan, Georgian University Press, ISBN978-8876521553, pp. 229–232 with footnote 133
^Franklin Edgerton (1996), The Bhagavad Gita, Cambridge University Press, Reprinted by Motilal Banarsidass, ISBN978-8120811492, pp. 11–12
^Elizabeth Reed (2001), Hindu Literature: Or the Ancient Books of India, Simon Publishers, ISBN978-1931541039, pp. 16–19
^a "strong traditional streak that (by Western standards) would undoubtedly be thought atheistic"; hymn 10.130 can be read to be in "an atheistic spirit". Michael Ruse (2015), Atheism, Oxford University Press, ISBN978-0199334582, p. 185.
^ abcdeFrits Staal (2009), Discovering the Vedas: Origins, Mantras, Rituals, Insights, Penguin, ISBN978-0143099864, pp. xv–xvi
^D Sharma (2011), Classical Indian Philosophy: A Reader, Columbia University Press, ISBN978-0231133999, pp. 196–197
^Jan Westerhoff (2009), Nagarjuna's Madhyamaka: A Philosophical Introduction, Oxford University Press, ISBN978-0195384963, p. 290
^ abcdAndrea Pinkney (2014), Routledge Handbook of Religions in Asia (Editors: Bryan Turner and Oscar Salemink), Routledge, ISBN978-0415635035, pp. 31–32
^Jeffrey Haines (2008), Routledge Handbook of Religion and Politics, Routledge, ISBN978-0415600293, p. 80
^Salmond, Noel A. (2004). "Dayananda Saraswati". Hindu iconoclasts: Rammohun Roy, Dayananda Sarasvati and Nineteenth-Century Polemics Against Idolatry. Wilfrid Laurier University Press. pp. 114–115. ISBN978-0-88920-419-5.
^ abcThe Political Philosophy of Sri Aurobindo by V. P. Varma (1960), Motilal Banarsidass, p. 139, ISBN9788120806863
^N. Kazanas (2002), Indigenous Indo-Aryans and the Rigveda, Journal of Indo-European Studies, Vol. 30, pp. 275–289; N. Kazanas (2000), 'A new date for the Rgveda', in G. C. Pande (Ed) Chronology and Indian Philosophy, special issue of the JICPR, Delhi; N. D. Kazanas (2001), Indo-European Deities and the Rgveda, Journal of Indo-European Studies, Vol. 30, pp. 257–264, ND Kazanas (2003), Final Reply, Journal of Indo-European Studies, Vol. 31, pp. 187–189
^Edwin Bryant (2004), The Quest for the Origins of the Vedic Culture, Oxford University Press, ISBN978-0195169478
^Agrawal, D. P. (2002). Comments on "Indigenous IndoAryans". Journal of Indo-European Studies, Vol. 30, pp. 129–135; A. Parpola (2002), 'Comments on "Indigenous Indo-Aryans"', Journal of Indo-European Studies, Vol. 30, pp. 187–191
Sontakke, N. S. (1933). Rgveda-Samhitā: Śrimat-Sāyanāchārya virachita-bhāṣya-sametā. Sāyanachārya (commentary) (First ed.). Vaidika Samśodhana Maṇḍala.. The Editorial Board for the First Edition included N. S. Sontakke (Managing Editor), V. K. Rājvade, M. M. Vāsudevaśāstri, and T. S. Varadarājaśarmā.
B. van Nooten und G. Holland, Rig Veda, a metrically restored text, Department of Sanskrit and Indian Studies, Harvard University, Harvard University Press, Cambridge, Massachusetts and London, England, 1994.
Rgveda-Samhita, Text in Devanagari, English translation Notes and indices by H. H. Wilson, Ed. W. F. Webster, originally in 1888, Published Nag Publishers 1990, 11A/U.A. Jawaharnagar,Delhi-7.
ed. Müller (original commentary of Sāyana in Sanskrit based on 24 manuscripts).
ed. Sontakke et al., published by Vaidika Samsodhana Mandala, Pune (2nd ed. 1972) in 5 volumes.
Rgveda-Samhitā Srimat-sāyanāchārya virachita-bhāṣya-sametā, ed. by Sontakke et al., published by Vaidika Samśodhana Mandala, Pune-9, 1972, in 5 volumes (It is original commentary of Sāyana in Sanskrit based on over 60 manuscripts).
Witzel, Michael (ed.) (1997), Inside the Texts, Beyond the Texts. New Approaches to the Study of the Vedas, Harvard Oriental Series, Opera Minora vol. 2, Cambridge: Harvard University PressCS1 maint: extra text: authors list (link)
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