Vedic Metre in its Historical Development c9: Chapter III
Vedic Metre in its Historical Development c9
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Chapter III
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REARRANGEMENT OF THE RIGVEDA PROPER.
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89. It has been indicated above (§§ 57-62) that large parts of the Rigveda proper are on the whole metrically homogeneous, and that these parts can on general grounds be arranged in three periods. More precisely, the greater part of the Rigveda may be divided into ten groups of hymns as shewn on the next page, six of the groups being roughly equivalent to six of the Maṇḍalas, and the remaining four being of a more composite character. Of these ten groups, five have the characteristics of the *bardic* period: two are regular in metre, and therefore to be assigned to the *normal* period: two have the characteristics of the *cretic* or transition period: and the last group comprises the hymns of the popular Rigveda.
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90. It is not practicable to define the limits of any of the first nine groups with the same accuracy with which the popular Rigveda has been defined. It is nevertheless desirable to revise the groups as presented in the Saṃhitā text, in order that at least those individual hymns which are in most striking disagreement with the groups to which they belong in the text may be separated from them, and also that these hymns, as well as those which belong to those parts of the Saṃhitā which are not homogeneous, may find some appropriate place in the grouping, and thus be brought under review in our examination of the metre.
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We shall therefore attempt first to *detach* from each group those hymns that are not homogeneous with it, or at least those which clearly belong to a different period: and then to *attach* these hymns, and those not yet included in the grouping, to those groups to which on the whole they bear most resemblance. These processes cannot of course alter the general character of the respective groups as already defined: but if carried out with any success, they will greatly help in removing difficulties which otherwise might prevent us from obtaining a clear view of the less striking characteristics of each group.
91. Table Shewing the Homogeneous Grouping of the Rigveda
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| Group | Period | Hymns included | Family | Distinctive metrical features |
| I | Bardic | i 127–139 | — | Atyaṣṭi |
| | | viii 12–18 | Sobharī | Dimeter Uṣṇih |
| | | ,, 19–22 | Vyaśva | Kakubh-Satoṛhatī Pragāthas |
| | | ,, 23–26 | | Uṣṇih |
| | | ,, 27–31 | — | Mixed lyric metres |
| | | ,, 43–46 | — | ,, ,, |
| | | ,, 95–101 | — | ,, ,, |
| | | ,, 102, 103 | Sobharī | Kakubh-Satoṛhatī Pragāthas |
| II | ,, | v (part) | Atri | Anuṣṭubh with occasional extra verse |
| | | x 20–26 | Vimada | Anuṣṭubh varied |
| III | ,, | i 165–190 | Māna | Decasyllabic Triṣṭubh |
| | | vi | Bharadvāja | ,, ,, |
| IV | ,, | vii | Vasiṣṭha | Iambic Triṣṭubh |
| V | ,, | i 36–43 | Kaṇva | Bṛhatī-Satoṛhatī Pragāthas |
| | | ,, 44–50 | ,, | ,, ,, |
| | | viii 1–5 | ,, | — |
| | | ,, 6–11 | ,, | — |
| | | ,, 32–34 | ,, | — |
| | | ,, 49–57 | ,, | Bṛhatī-Satoṛhatī Pragāthas |
| VI | Normal | iv | Vāmadeva? | Regular Triṣṭubh and Gāyatrī |
| VII | ,, | i 1–11 | Kuśika? | Gāyatrī |
| | | ,, 12–23 | — | ,, |
| | | ,, 24–29 | — | ,, |
| | | ,, 30 | — | ,, |
| | | iii | Kuśika | Regular Triṣṭubh and Gāyatrī |
| VIII | Cretic | i 94–115 | — | Cretic Triṣṭubh and Jagatī |
| IX | ,, | ,, 31–35 | — | ,, ,, |
| | | x 35–84 | — | ,, ,, |
| X | Popular | x 14–19 | — | Contaminated Triṣṭubh and epic Anuṣṭubh |
| | | ,, 85–191 | — | ,, ,, |
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92. The criteria available in individual cases have already been summarized in § 59, and must now be considered in more detail. Hymns which have any of the characteristics of the popular Rigveda must generally be referred at earliest to the cretic period, and unless there is some reason to the contrary, they will be classed with the hymns x 35-84 in Group IX. Otherwise no single criteria are very certain: in other words, such change as we observe in the Rigveda proper is slow and continuous. On the other hand the concurrence of two or more indications in the same hymn may generally be trusted. Generally speaking, stronger evidence is required to justify the detachment of a hymn that belongs to a homogeneous Saṃhitā group than is sufficient to guide us in the corresponding attachment: and it will be at least prudent to err on the side of caution rather than unnecessarily to disturb the existing grouping.
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93. The whole grouping being merely a provisional aid to the study of the metre, any full discussion of the position of individual hymns would be out of place here. It must be sufficient to state generally that there are numerous small indications of a close connexion between particular hymns which cannot be included in a catalogue of criteria. Consequently the argument in the remainder of this chapter must be regarded merely as an outline.
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As an indication of the value of the respective criteria, the instances in which their indications are not accepted at present are enclosed in square brackets [ ]. In the shorter lists the references are extended to the popular Rigveda, for convenience of reference later.
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94. The most important indications of date are those furnished by metre. The following features appear to be characteristic of the bardic period:—
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(i) *All lyric metres* (§ 24); Uṣṇih, Atyaṣṭi, Kakubh-Satoḅṛhatī Pragāthas, and mixed lyric metres being specially characteristic of Group I, and Bṛhatī-Satoḅṛhatī Pragāthas of the Kaṇva collection (Group V).
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Hymns entirely composed in Bṛhatī seem to be quite as common in the normal period, and occasional verses in Bṛhatī and even Bṛhatī-Satoḅṛhatī Pragāthas seem to be found still later. Such cases are iii 9 1-8, 44, 45; vi 59 1-6 (Bṛhatī hymns): iii 16 (hymn in B.-Sat.): i 105 8 (Bṛhatī with refrain verse), *170 1 (B.), *179 5 (B.); iii *53 18 (B.); vi 47 19 (B.); x *14 15 (B.), 33 2-3 (B.-S.), 62 6-7 (B.-S.), *101 5 (B.), *102 1, 3, 12 (B.).
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Other instances of lyric metre outside the bardic period are i *23 19 (12.8.8), *164 42 (11.11.8.8), *191 13 (8.8.12.8.8);
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iii 10 (Uṣṇih), 21 4 (11.11.11.8), 5 (Satob.), 23 3 (Satob.), *28 3 (Uṣṇih); iv 1 1-3 (Atyaṣṭi, etc.), *57 5 (11.8.8); vii *55 2-4 (8.8.8.8.4), *66 16 (12.8.8); x *17 13 (11.8.8.8), *18 11 (12.12.8.8), *170 4 (8.8.12.12).
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For viii *3 24, ix 67 30, *x 85 34, see the ‘Metrical Commentary.’ In several other cases in the late Rigveda the metre seems to be confused rather than lyric.
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(ii) Dimeter verse containing a varying number of verses in the stanza. This is particularly common in Group II (Atri hymns).
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(a) The most important class of hymns consists of the Anuṣṭubh hymns of Maṇḍala v, in which the last stanza usually shews an extra verse: hymns 9, 10, 19, 52, and 86 shew further variations. Other examples are viii 69 7-11, 12-16: and in a less regular way *viii 91, *x 145, *164, and other hymns in connexion with epic Anuṣṭubh.
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(b) Gāyatrī hymns with an additional verse in the first stanza, or in the first of each triplet of stanzas are [iii 24]; v 28 4-6, 82 1-3; viii 3 21-23, 9 19-21, 63 1-9, 68 1-12, 74 1-12, 92; ix 101 1-3; x 20.
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(c) Gāyatrī with an additional verse in the final stanza is found i 43 7-9, 90 6-9; vi 16 25-27, 45 31-33, [56]; vii 94 10-12; viii 31 5-9, 10-14, 79; ix 66 16-18, 67 25-27; *x 60 1-6. For *ii 8 6 see p. 42.
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(d) Otherwise the mixture of Gāyatrī and Anuṣṭubh (or Paṅkti) stanzas seems not to be specially characteristic of the bardic period, the instances being i 187; iii 53 12, 13; iv 30; vi 53; viii 2, 55, 56; x *19, 176.
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For the use of Mahāpaṅkti (8.8.8.8.8.8) in connexion with Anuṣṭubh or Paṅkti see below, § 95 iv.
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(iii) Decasyllabic Triṣṭubh (§ 49) variations are characteristic of Group III (i 165-190, vi): they are found occasionally in other groups of the bardic period. Hymns in the Dvipadā Virāj, Virāṭsthānā, and Bhārgavā metres also appear to belong chiefly to the bardic period.
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(a) The extent to which decasyllabic variations are admitted in the Rigveda depends greatly on the view taken of the proposed restorations índara for índra, -aam for gen. pl. -ām. The occasions for the former restoration are found almost exclusively in hymns which also shew undoubted decasyllabic variations, and therefore the restoration seems at first sight unnecessary. On the other hand the restoration -aam is suggested in different parts of the verse, and in numerous hymns in which all other verses have the normal number of syllables: and this restoration therefore seems to correspond to the intention of the bards generally. If we admit the restoration -aam, but not índara, we find that the following Triṣṭubh or Jagatī hymns have at least two decasyllabic variations, being at least one in every ten verses : i 60, 61, 63, 77, 104, [145], 148, 153, 167, 169, 173, 174, 178; ii 4, 19, 20; [iv 21]; v 33 1-7, 41, 51 11-13; vi 20, 21, 24, 30, 33, 35, 63, 66, 68 1-8; x 23, 49, 50, 99, 148. Also the following lyric hymns: i 120 1-9, 127, 129, 135; x 22, 93, 105, 132; and i 149, in which the stanza consists of three Triṣṭubh verses.
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In the long hymns i 122, v 45, x 61 the proportion of decasyllabic variations is slightly less than as above.
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(b) Hymns in *Dvipadā Virāj* are [i 65-70], vi 44 7-9, vii 34 1-21, 56 1-11, ix 109. [The hymn iv 10 is of a cognate type (5.5.5.11.).] The hymns x 1, 6, [46] are partly in this metre, partly in Triṣṭubh. The metre seems most characteristic of Group IV (Maṇḍala vii); but several hymns stand in the text in association with hymns in normal Triṣṭubh, and are therefore probably later.
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(c) The only hymn in *Virātsthānā* metre is ii 11, in which almost half the verses are Triṣṭubh. This hymn will naturally be associated with those in Maṇḍala ii already noticed as having decasyllabic variations. Hymn i 61 is nearly allied to this type.
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(d) The *Bhārgavā* hymns x 77, 78 (§ 52) most resemble ii 11 in their general character, about half the verses in each hymn being Triṣṭubh or Jagatī.
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(iv) Hymns in metres which contain more or less than four trimeter verses in the stanza are most common in the Vasiṣṭha group. Occasional extra verses are most common in the Bharadvāja group.
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Hymns composed in stanzas each of which contains two or three trimeter verses are i 149; [iii 25]; vii 1 1-20, 17, 22, 31 10-12, 68; viii 9 10-12; ix 110 4-6, 7-9, 10-12; [*x 157].
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Occasional extra verses are found in [*ii 43; iv 17, 27]; v 2, 41, 42 1-17, 43; vi 2, 10, 15 4-6, 13-15, 17, 31, 49, 63; [*vii 50]; x 115 6-9. In vi 15 1-3 a dimeter verse is appended to a Jagatī stanza.
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(v) In trimeter verse iambic variations (§ 46) are characteristic of the bardic period, and in particular of the Vasiṣṭha group.
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The principal iambic variations are the rhythms ‖ ◡ ◡, ◡ ‖ ◡ ◡ at the break, but we also include the rhythms ‖ ◡ ◡, ‖ ◡ ◡, which are generally found in the same hymns. The occurrences of these rhythms are to a large extent found in the hymns already marked out as belonging to the bardic period by the features noticed under (i), (iii), and (iv) above.
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Thus the following hymns in classes already noted have each at least *two* iambic variations, being *one in every eight verses*: i 36, 40, 77, 79 4-6, 88, 92 13-15, 120 1-9, 122, 127, 128, 131, 133 6-7, 135 4-6, 149, 153, 167, 169, 173; ii 11, 19, 20; [iii 25; iv 10, 27;] v 24, 41, 53, 87; vi 2 11, 10, 15 1-3, 13-15, 31, 35, 46, 48, 63, 66, 68 1-8; vii 1 1-20, 14, 17, 22, 31 10-12, 68, 81; viii 4, 18 1-22, 19, 20, 21, 22 7-12, 23, 25, 26 1-15, 29, 33 1-15, 35 1-21, 36, 46, 60, 70 7-12, 87, 90, 97 11-15, 98 7-12, 99, 103; ix 108, 110 7-9; x 6, 23, 50, 61, [62 5-10], 77, 93, 99, 105, 115 6-9, 132, 140, 144, 172. A very large proportion of these hymns are in lyric metre, which suggests that the rhythm may be due to the influence of dimeter verse.
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Hymns in Triṣṭubh (rarely in Jagaṭī) metre shewing this rhythm to the same extent are i 55, 56, 57, [59, 83], 85, 87, 91 1-4, 92 9-12, [117], 155 1-3, 156, 158 1-5, 180, 181, 184, 190; [ii 9, 11 21, 17, 26, 31, 33; iii 14, 15, 19, 26 4-6, 35, 51 4-6, 58, 61; iv 4, 6, 12 6, 29, 37 1-4; v 8, 31, 46 1-2, 7-8, 49, 77]; vi 4, 11, 12, 13, 15 10-12, 16 46, 23, 26, 29, 37, 38, 40, 44 10-12, 13-15, 50, 60 1-3, 73; vii 1 21-25, 3, 4, 7, 8, 19, 20, 21, 23, 24, 26, 27, 30, 34 22-25, 36, 37, 38, 39, 40, 42, 43, 56 12-25, 57, 58, 60, 61, 62, 64, 65, 67, 70, 72, 73, 77, 84, 85, 86, 87, 88, 92, 95, 97; ix 70, 76, 79, [85 9-12, 86 4-6, 34-36], 88, 93, 94, [96 17-20, 97 19-21, 52-54]; x [4, 32 1-5, 39 14], 48, 73, 74, [76, 79], 115 1-5.
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To the above are to be added several hymns in which this rhythm is found side by side with other features which indicate late date, with which we include all hymns in the popular Rigveda: *i 93 4-8, 111 (§ 111 i), 116 (§ 95 ii, 110 iv), *133 1-5; iii 21, 22 1-3, 53 9-11, and 57 (§ 95 i, ii); v 28 1-3, 36 1-5 (§ 95 i); vi 64 (§ 95 ii); *viii 100 1-6; x *59 1-7, 62 1-4 (§§ 95 i, 98 viii), 65 (§ 95 ii), *95, *120, *123.
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It appears therefore that iambic rhythm is very much commoner in the bardic period than elsewhere: but it is not rare in Maṇḍala iii (see § 110), is sometimes accompanied by indications of later date, and occasionally found even in the popular Rigveda. Its use therefore extends considerably beyond the groups I-V, and the appearance of this feature in an individual hymn affords by itself only a slight presumption of date.
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(vi) Anuṣṭubh and Gāyatrī verse are most commonly found in association with the lyric metres: but both are fairly frequent in the groups belonging to the normal period. The changes in rhythm are on the whole too slight to be used here as a criterion.
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Catalectic and heptasyllabic verses (elsewhere than in the semi-cadence of epic Anuṣṭubh) indicate early date: the only hymns which shew at least two occurrences, being one in every ten verses, are viii 68 14-19, x 26, and the following which are wholly or partly in lyric metres: i 120 1-9, 175 1-5, x 22, 105.
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(vii) The iambic re-opening (opening of pādas b and d, see § 41) in Anuṣṭubh verse, if regular, indicates the bardic period.
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This rhythm is regular in the Anuṣṭubh hymns of Maṇḍala v: in addition the following hymns have each at least two such re-openings, being one in every four: [i 10, 28 1-6], 84 1-3, 4-6, 176 1-5, 187 1-7; ii 5; [iii 13]; v 19; vi 2 1-10, 14, 44 1-3, [*51 16]; viii 9 1-9, 16-18, 19-21, 95; ix 98, 99, 100, 101 7-16; x 21, 26, [*58, *87 22-25].
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(viii) Trochaic Gāyatrī appears most commonly in the bardic period.
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Hymns and fragments mainly composed in Trochaic Gāyatrī are i 2 7-9, 3 4-6, 27 1-6, 10-12, 30 13-15, 41 7-9, 43 7-9, 90 1-5; ii 6; v 68, 70, 82 7-9; vi 16 25-27, 61 10-12; viii 2, 16, 71 1-9, 79, 81; ix 62 4-6, 66 16-18, 19-21; x 20, 185.
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Occasional Trochaic stanzas are found in the following hymns: i 2 1-3, [22 9-12], 30 7-12, 38; [iii 11, 41; iv 55 8-10]; v 19; vii [89]; viii 3 21-23, 5, 7, 11, 55, 56, 94.
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In connexion with other metres trochaic dimeter cadence is very rare: but we find Trochaic Bṛhatī in iii 16, a trochaic Anuṣṭubh stanza in viii 95 7, and trochaic rhythm in uneven lyric metre in i 120 1-9.
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95. In striking contrast to the variety of metrical form which characterizes the bardic period are the few and slight indications which specially mark the cretic period, but are also not uncommon in the normal period and in the popular Rigveda.
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(i) Contamination in Triṣṭubh and Jagatī verse.
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External contamination, including the combination of Triṣṭubh or Jagatī stanzas with Gāyatrī or Anuṣṭubh, seems seldom to be much earlier than the cretic period. It is however difficult to define, as in some cases we may be dealing with composite hymns. The appearance of one or two Triṣṭubh stanzas towards the end of Jagatī hymns is not included. Probable examples are i 35, 125; ii 3 1-7; iii 8 1-9, 22, 53 9-11, 15-16; iv 7, 40 1-4, 57 1-3; v 28 1-3, [36 1-5], 60; vi 7, [47 22-25], 58; vii 41, 44; x 44, 69, 124 6-8, 131; besides numerous examples in the popular Rigveda.
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Internal contamination of Jagatī stanzas by Triṣṭubh verses is found in at least two instances in each of the following hymns: i 110, 114; x [23], 62 1-4, 11, 63, 66, 75, [115 1-5], 122. Similarly of Triṣṭubh stanzas by Jagatī or hybrid verses: i 35, [180]; vi 47 15-18, 72; ix 85 9-12. Both variations are common in the popular Rigveda.
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(ii) Cretic variations, i.e. occurrences of the rhythm - ◡ - after an early caesura (§ 46), are not rare in any part of the Rigveda: but they are proportionately much more common in the cretic period. Hymns of any length in which this rhythm is frequent probably belong to the cretic period, unless indeed they belong to the popular Rigveda: but in short hymns the same relative frequency may be accidental.
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Hymns which shew at least two cretic variations, being one in every five verses, are found as follows: i *24 1-2, 30 16, 51, *84 16-18, [91 22-23], *93 12, 94, 96, 100 1-15, 103, 106, 109, 112 24-25, 113, 118, 125, 140, 146 1-4, 159, 160, *162, 182; ii 3 8-11, 30 1-10, 39, *42; iii 5, 6, 9 9, 17, 20, 36, 39, 49, *52 5-8, 53 2-6, 54; iv 11, 34, 50 1-6, 10-11, *58 1-10; v 4, 34 9, 46 3-6, 60 7-8, 76, 78 4, 80; vi 6, *15 19, [22, 27 8, 32], 47 20, 52 4-6, [61 1-3], 70, *74; vii 5, 9, 10, 13, 18 1-21, 54, 59 7-8, [69], 78, 79, 80, 101, *104 1-7, *8-17;
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viii 40 12, *58; ix 80, 90, 97 1-3, 34-36, 37-39, 40-42, 43-45, 49-51; x 5, 8 7-9, 30, 36 1-12, 13-14, 37 1-10, 38, 44 4-9, 47, *52 1-5, *6, *53, 54, 65, 70 1-7, *87 1-21, 106, *107, 111, 112, *164, *169, 178, *179 2-3.
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The following hymns have both iambic and cretic variations to the extent indicated above: i *93 4-8, 111, 116; iii 22 1-3, 57; vi 64.
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In lyric or decasyllabic hymns cretic variations occur only as follows, several of the hymns having also iambic variations: i 48, 134; iii 21, 23; viii 10; ix 110 4-6; x 78, 105, 140.
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Although a few of the hymns, as indicated by the brackets, probably belong to the bardic period, the following table shews in a striking way the extent to which the iambic variations are associated with the lyric and decasyllabic metres¹, and the rarity of cretic rhythm in them: whilst on the other hand in the popular Rigveda iambic variations almost disappear.
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| Metres | Iambic hymns | Cretic hymns |
| Lyric and decasyllabic metres¹ | 85 | 9 |
| Others in Rigveda proper | 133 | 91 |
| Popular Rigveda | 6 | 21 |
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¹ Including the metres referred to in § 94 iv.
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(iii) In the Gāyatrī and Anuṣṭubh metres the absence of those variations which characterize the bardic period is to some extent an indication of later date. For this reason it seems likely that the great body of Gāyatrī verse extending from ix 1 to ix 67 is not earlier than the normal period, though it probably includes some material of an earlier date. In Anuṣṭubh metre the absence of iambic openings in the second and fourth verses, combined with irregularities of cadence restricted to the first and third verses, marks an approximation to the rhythm of the popular Rigveda. But there are very few single hymns of sufficient length to enable these tendencies to be confidently traced in them.
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Iambic re-openings are rare in the following hymns: i 45, 49, 105 1-3, 9-12, 142 1-8; iii 8 1-9, 21; iv 7 2-6, 37 5-8, 47; vi 59 7-10; viii 8, 62 1-3, 89 5-7; ix 101 4-6.
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Irregularities in semicadence only are found as follows: i 28 1a 2a, 105 4a 5a 5c 15a 16a 17a, 142 2a 7a, 158 6a, 187 5a; iii 8 3c; iv 37 6a 6c; v 19 3c; vi 2 2a, 44 4a, 47 23a; viii 8 20a 21a 21c, 9 9a, 34 1a, 69 11a; ix 101 6a 12c 16a; x 62 5a 5c.
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The combination of the two features is therefore found in i 105, 142 1-8; iii 8 1-9; iv 37 5-8; [viii 8; ix 101 4-6]. Thus a tendency in the direction of the later rhythm can perhaps be observed, not only in hymns of the normal and cretic periods, but even in some of still earlier date. See further in Ch. VII.
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(iv) Hymns in Mahāpaṅkti belong to the normal or cretic period.
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For this the presumption is only slight. The hymns that shew this metre are *i 191 10-12, viii 39, 40 1-11, 41, 47 1-12, *13-18, x *59 8-10, 133 1-6, 134 1-6, *166 5. In x *59 8-10, 133 1-6 the number of verses in the stanza varies.
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The extreme regularity of the metre distinguishes these hymns from the Anuṣṭubh hymns of Maṇḍala v, in which also as many as six verses are found, though rarely, in one stanza: and it deserves notice that nearly half of the hymns are in the popular Rigveda.
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96. The larger collections of the Rigveda shew a general uniformity in their subject-matter, consisting usually of three parts about equal in bulk, of which one is composed of hymns to Agni, the second of hymns to Indra, and the third of hymns to other deities.
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On the other hand the smaller collections present us with a different picture. In most of these collections (such as those of which Group I is composed) the hymns to Indra greatly predominate: in some, as in i 65-73, 140-164, and the Anuṣṭubh hymns of Maṇḍala v the hymns to Agni are most numerous.
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It is therefore probable that the earliest collections were often devoted to the honour of one or two favourite deities, and that the uniformity of the large collections has been reached by a process of supplementing. This process is most easily to be traced in the Agni hymns, which are so slightly represented in most of the smaller collections: thus the Āpriya hymns, as well as the hymns to Agni Vaiśvānara and Agni Jātavedas, all of which are included in the Agni sections, appear to be unknown to the earliest groups, and in consequence no hymns of any of these types are found in any lyric metre.
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The instances in which the subject-matter seems to afford a clue to the position of individual hymns are given in the next two sections: but these indications are on the whole less trustworthy than those of metre.
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97. The deities which appear chiefly in the collections of the bardic period are Mitra-Varuṇa (and Mitra-Varuṇa-Aryaman), Vāyu (and Indra-Vāyu), Viṣṇu and Sarasvatī: and in the same period we find almost all of the songs of thanks to patrons for their munificence (*dānastutayaḥ*). These features are unevenly distributed amongst the different collections of the period.
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(i) Hymns to Mitra-Varuṇa are found i 2 7-9, [23 4-6], 41 1-6, 7-9, 90 1-5, 136, 137, 151-153; ii 41 4-6; [iii 62 16-18]; v [62, 63], 64-68, [69], 70-72; vi 62 8-9, 67; vii 60-66; viii 19 34-35, 25 1-9, [47 1-12], 101 1-6; x 126 1-7, 132, 185.
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(ii) Hymns to Vāyu and Indra-Vāyu occur i 2 1-3, 4-6, [23 1-3], 134, 135; ii 41 1-3; [iv 46-48]; v 51 1-4, 5-7; vii 90-92; viii 26 20-25, 46 25-28, 101 9-10.
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(iii) Hymns to Viṣṇu are [i 22 16-18, 19-21], 154-156; vi 69; vii 99, 100.
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(iv) Hymns to Sarasvatī are i 3 10-12; ii 41 16-18; vi 61; vii 95, 96.
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(v) The *dānastutayaḥ* are [iii 53 7; iv 15 7-10, 32 22-24]; v 27 1-3, 4-6; 30 12-14, 33 8-10, 36 6, 52 15-17, 61 5-10; vi 27 7-8, 45 31-33, 47 22-25, 63 9-11; vii 18 22-25; viii 1 30-32, 2 40-42, 3 21-23, 4 19-21, 5 37-39, 6 46-48, 19 36-37, 21 17-18, 24 28-30, 25 22-24, 34 16-18, 46 21-24, 29-33, 55, 56, 65 10-12, 68 14-19, 69 17-18, 70 13-15, 74 13-15; ix 58. A mock *dānastuti* seems to be found in *i 120 10-12. (See R. Pischel, *Vedische Studien* i 1 seq.)
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98. The deities Bṛhaspati, Vāstospati, Kṣetrapati and Sadasaspati, and Dadhikrā appear to be most prominent in the normal period: whilst hymns to Agni Vaiśvānara and Jātavedas, Dyāvā-Pṛthivī, Sūrya, Parjanya, and the Āpaḥ, as well as the Āpriya hymns and most of those which have a ritual character, are found chiefly in the cretic period and the popular Rigveda. Here too belong a few hymns praising liberality (*dakṣiṇā*), and easily distinguished from the earlier *dānastutayaḥ*.
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(i) Hymns to Bṛhaspati or Brahmaṇaspati: i 18 1-5, [40 1-6, 190]; ii 23-26; iii 62 4-6; iv 49, 50 1-6, 10-11; vi 73; [vii 97, 98]; x *42 11, 67, 68, *182. To Vāstospati: vii 54, 55 1; [viii 17 14, 15]. To Kṣetrapati: iv 57 1-3. To Sadasaspati: i 18 6-9.
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(ii) Hymns to Dadhikrā: iv 38-40, vii 44.
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(iii) Hymns to Agni Vaiśvānara: i 59, 98; iii 2, 3, 26 1-3; iv 5; vi 7-9; vii 5, 6, 13. To Agni Jātavedas: i 99; iii 17; v 4; x 188.
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(iv) Hymns to Dyāvā-Pṛthivī: i 22 13-15, 105 (refrain), 159, 160, [185]; ii 32 1-3; iv 56; vi 70; vii 53.
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(v) Hymns to Sūrya: i 50 1-9, 115; iv 13 1-4; *vii 66 16; [viii 101 11-12]; x 37 1-10, *189.
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(vi) Hymns to Parjanya: *v 83; vi 52 16; vii 101, 102.
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(vii) Hymns to the Āpaḥ: i *23 16–18, *19–21; vii 47, *49; x 9 1–5, *17 10, 30.
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(viii) Āpriya hymns: i 13, 142, 188; ii 3; iii 4; v 5; vii 2; ix 5 1–7, *8–11; x 70, 110. Other ritual hymns appear to be i 28, 105 4–6, 9–12, *162, *163, [187]; iii 8 1–9, *10–11, *29; iv 23 8–10, 40 5, *58 1–10; viii *66 15, [72]; x 62 1–4, 76, *94, *101, *175.
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(ix) Praise of liberality: i 125, 126 1–5; [vi 27 8]; x *42 9, 62 5–10, 11, *107, *117 1–7.
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99. It has already been noticed (§ 59) that the mention of the family name of the poet is characteristic of the bardic period only. The subject has been discussed by H. Oldenberg, in an article Ueber die Liedverfasser des Rigveda (ZDMG. xlii 199–247): and he has shewn that as a rule the singular and plural forms, e.g. Vasiṣṭhāḥ and Vasiṣṭhāsaḥ, are used side by side, and therefore both alike usually indicate the name of a family, not of an individual poet. The interpretation of the occurrences in the Rigveda is not always easy : several hymns contain references to more than one family, and the later hymns of the Rigveda frequently refer to the ancient poets (or supposed poets) by name, whilst in many cases we cannot be sure whether we have a contemporary record or a mythological reference.
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The use of family names is dealt with in detail below (§§ 104–110) in connexion with the separate groups: but the treatment makes no claim to be complete. In some collections, as for instances those of the Kaṇvas, the evidence of family authorship is very complete, and the name occurs in almost every hymn: in others, as for instance in Maṇḍala iv., the evidence is so slight that the use of the family name to describe the collection can only be regarded as conventional. To the traditional lists of authors it is impossible to attribute any independent historical value.
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100. Refrain verses concluding each of a series of hymns occur in Dimeter and in Triṣṭubh metre, but the latter occasionally close Jagaṭī stanzas. They are chiefly found in the bardic period, but their use occasionally extends to later hymns. A refrain distich is found in the cretic collection i 94–115.
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The refrain verses regularly used in the Rigveda are prātár makṣú ...... i 58–64, viii 80 10, ix 93 : [tád no mitráḥ ...... i 94–115, ix 97 57–58] : vidyāmeṣám ...... i 165–190 : [bṛhád vadema ...... ii, ix 86 47–48] : mádema śatáhīmāḥ ...... vi : tā tarema ...... vi : yūyám pātā...... vii; [ix 90, 97 1–3, 4–6; x 65, 66, 122]. In Dimeter metre: utáidhi pṛtsú no vṛdhé v; ví vo máde...vivakṣase x 20–26; [nábhantām anyaké same viii 39–42, cf. x 133].
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The following are used in a few hymns only: suvīrāso vidátham á vadema i 117 25, ii 12 15, *viii 48 14: vayám siāma pátayo rayīṇám iv 50 6, v 55 10, viii 40 12, *48 13, *x 121 10: suvīriasya pátayaḥ siāma iv 51 10, vi 47 12, ix 89 7, 95 5, x 131 6: rāyá madema bṛhatá tuótāḥ vi 19 13, cf. 49 13: rákṣā (trásvā) utá nas tanúo áprayucchan x 4, 7 (cf. i 143 8, iii 5 6, 20 2): devaír dyāvāpṛthivī prāvatam naḥ i 31 8, x 67 12: īṣam úrjam suksitím víśvam ábhāḥ x 20 10, 99 12. Of these only two belong to the bardic Rigveda. The refrain verse índrāyendo pári sravā in *ix 112–114 is an artificial addition, borrowed from ix 106 4b.
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Concluding stanzas common to two or more hymns are found in many parts of the Rigveda, and usually indicate a close resemblance between the hymns thus connected.
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101. Many hymns even in the Rigveda proper are out of their strict order: such hymns are often foreign to the collections in which they stand, but are not necessarily of late date.
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For the discussion of the order of the hymns reference has already been made to H. Oldenberg's *Prolegomena*, ch. II.
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In numerous cases there is a slight displacement amongst hymns which are obviously cognate: but the following cases seem to be of more importance: i 2, 3, 10, 24 3–5, 27 13, 104, 189; ii 9, 10, 41 10–12; iii 53 2–16; iv 15 7–10, 48 5; v 61 5–10, 84, 87; vi 47 1–25; vii 17, 44–55, 59 9–11; viii 1; in addition to numerous hymns belonging to the popular Rigveda.
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102. The recurrence of more than a single stanza of a hymn, or of an independent stanza, in the Atharvaveda, most commonly indicates the cretic period at the earliest.
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Most hymns of this kind have been already assigned to the popular Rigveda. Those that remain are i 22 16–18, 19–21, 32, 50 1–9, [154]; iv 2; v 46 7–8; vi 47 6–10, 11–14, 54, 68 9–11; vii [32], 41; [viii 24]; x 2, 9 1–5, 40, 110.
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103. In the hymns of the Rigveda proper the linguistic forms recorded in §§ 84, 85 greatly preponderate over those recorded in §§ 86, 87: but in those of the cretic period the later linguistic forms constitute a tangible proportion of the whole. Conversely, if in any hymn the number of late linguistic forms approaches the number of early forms, there is a presumption that the hymn belongs to the cretic period.
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Such hymns are i 13 9–12, 22 13–15, 23 13–15, 28 1–6, 29, [41 7–9, 43 4–6], 83, 84 13–15, [135 7–9, 136 1–6], 145, 182, 188; ii 12, 13, 28, 39, 40, 41 10–12; iii 21, 33 1–12, 45, 53 2–6, 55; iv 12 6, 42 8–10; v 5, 47 1–6, 62, 81; vi 9, [16 16–18], 47 19–21, 52 4–6, 54, 59 1–6, [60 14]; vii 46, 59 7–8, [76], 101, 102; [viii 17 11–13, 34 refrain, 41, 55, 69 12–14, 77]; ix 85 1–4, 86 28–30, 97 7–9; x 2, 91, 106, 110 8-11, 126 8, 127 ; besides numerous hymns in the groups i 31-35, 94-115, x 35-84.
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104. We proceed to revise the grouping of the hymns, with such assistance as is given by the indications noted in §§ 93-103.
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I. The short collections of Maṇḍala viii, arranged without preference for the Agni hymns, and composed in metres almost entirely unknown in the time of the popular Rigveda, not only bear the most evident indications of early date, but have been least disturbed by later additions. On account of their small bulk they are included in one group. All the collections in bk. viii which have no special affinities to other groups are here included, and also the collection i 127-139, which has Atyaṣṭi as its distinctive metre.
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Group I. The collections included are:—
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(i) viii 12-18. Hymns chiefly to Indra, and mostly in Uṣṇih metre, either Dimeter or Trimeter. *Attach* ix 102-106, in similar metres.
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(ii) viii 19-22. The distinctive metre is Kakubh-Satoṛhatī; the author's name Sobharī occurs 19 2c 32a, 20 2d 8a 19b, 22 2c 15c. *Attach* viii 102 1-18, 103 (st. 8-13 Kak.-Sat., 8c Upastuta, 14c Sobharī); ix 108 (Kak.-Sat.); x 115 (8b 9b Upastuta, connecting this hymn with viii 103 : see also § 94 iv, v).
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(iii) viii 23-26. The distinctive metre is Uṣṇih. *Vyaśva* is named as author in 23 16a 23b, 24 22a 23b 28c 29b, 26 9b 11a.
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(iv) viii 27-31, in lyric metres and Gāyatrī, addressed to the Ādityāḥ and Viśve Devāḥ.
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(v) viii 43-46, in similar metres to Agni, Indra, and Vāyu. For 47 1-12 see §§ 95 iv, 109 iv.
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(vi) viii 95-101, in Dimeter Uṣṇih and various lyric metres, addressed chiefly to Indra.
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(vii) i 127-139, in Atyaṣṭi and similar metres. *Attach* ix 111.
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105. II. Stanzas consisting of a varying number of dimeter verses are specially characteristic of Maṇḍala v: much the most common form is Anuṣṭubh with an extra verse in the last stanza, but we also find Gāyatrī with an extra verse in the first stanza (28 4-6, 82 1-3) and other variations. There are also several lyric hymns in this collection. The trimeter hymns mostly shew the characteristics of the normal or cretic period, and are therefore probably later additions. A similar collection is found in x 20-26.
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Several of the short collections in Maṇḍala viii are more akin to this group than the last, though a strict line cannot be drawn.
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The second Maṇḍala contains a nucleus of early hymns which have features in common both with this group and with the next.
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Group II. The hymns included are:
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(i) Early hymns of Maṇḍala v. These include all the lyric, Anuṣṭubh, and Paṅkti, and at least those Gāyatrī hymns in which the number of verses in the stanza varies: also those Triṣṭubh hymns which have decasyllabic variations or extra verses, and all hymns containing dānastutaḥ. The following list will be roughly correct: 2 (§ 94 iv), 6, 7, 9, 10, 16–25, 27 (§ 97 v), 28 4–6 (§ 94 ii), 30 1–14 (§ 97 v), 33 (§§ 94 iii, 97 v), 35, 36 (§§ 94 v, 97 v), 38–40 3, 41 (§ 94 iii–v), 42 and 43 (§ 94 iv), 45 (§ 94 iii), 50, 51 1–13 (§§ 94 iii, 97 ii), 52, 53, 56, 61 (§ 97 v), 64–67, 68 and 70 (§§ 94 viii, 97 i), 71 and 72 (§ 97 i), 73–75, 78 1–3, 79, 82 (§ 94 ii, viii), 84, 86, 87.
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The family names found are Atri in 2 6, 7 8, 10, 22 1, 4, 39 5, 51 8, 67 5, 72 1, 73 6, 7 74 1, and Śyāvāśva 52 1, 61 5, 9.
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The appearance of cretic variations makes us hesitate to ascribe 4, 78 4, and 81 to the original collection, though the proper names reappear in them, as also in 15 and *40 5–9.
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The refrain stanza sám aśvínoḥ is only appropriate to 76 and 77, and would therefore seem to have been added later to 42 and 43.
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Attach ix 98–101, on account of the similarity of metre (§ 94 vii).
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(ii) In the collection x 20–26 the prevailing metre is Anuṣṭubh, with several variations. In 21, 24, 25 half verses occur which form a refrain ví vo máde...vivakṣase, containing the family name Vimada, which also occurs 20 10a, 23 6a 7b [*24 4c]. In 20 we have Trochaic Gāyatrī, in 22 uneven lyric metre; in 26 a large proportion of the verses are catalectic. 23 is in contaminated Jagatī, but this hymn is not to be separated from the rest, for it also contains the family name (vv. 6a 7b), and the frequency of catalectic cadence finds a parallel in 26.
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Attach x 99 (§ 94 iii), which has the refrain íṣam ūrjam ... in common with x 20; and, on its analogy, the other lyric, early Anuṣṭubh, and decasyllabic hymns in bk. x, and those with which they are associated, viz. 93, 105, 132 (all in uneven lyric metres), 126 1–7 (lyric), 143 (Anuṣṭubh; Atri is named 1a 2d 3a), 144 and 172 (§ 94 v).
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(iii) The collection viii 35–38 is connected with Maṇḍala v by the name Atri in 35 19a, 36 6a 7b, 37 7b, 38 8b, usually with the addition of the name Śyāvāśva, and by the use of a lyric metre somewhat resembling that of v 87 and x 132. This metre however appears to glide into Mahāpaṅkti, and so far it is associated with a later period.
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(iv) Other groups in the eighth Maṇḍala which are generally similar are those which extend from 60 to 79, and 92 to 94. For resemblance of metre see § 94 ii a, b. The proper names that occur are Atri 73 3a 7a 8b, Priyamedha 69 8b 18b, Purumilha 71 14c, Virūpa 75 6b.
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Attach x 73, 74 (Priyamedha 73 11b: cf. § 94 v).
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[^24 4c]: *24 4c* (v) The nucleus of early hymns contained in Maṇḍala ii may be roughly defined to consist of the following hymns: 4 (§ 94 iii a), 5 (§ 94 vii), 6 (§ 94 viii), 11 1-20 (§ 94 iii c), 19, 20 (§ 94 iii a), 22 (lyric), 41 1-9 (§ 97 i, ii), 16-18 (Anuṣṭ. and Bṛh., cf. ix 98, 99: see also § 97 iv). The name Gṛtsamada occurs in 4 9a, 19 8a, [39 8b], 41 18c, and Śunahotra in [18 6c] and 41 17c. The refrain bṛhád vadema is wanting in ii 4: it occurs in 11, 19, 20 as concluding a single final stanza which may have been attached to these hymns later.
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A similar nucleus is found in hymns i 120 1-9 (uneven lyric), 121, and 122 (§ 94 iii a, v), the name Pajra occurring in i 122 7b 8c, and Pajriya 120 5b.
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Attach i 2, 3 (§ 110 ii), x 61, which has iambic rhythm (§ 94 v), and many decasyllabic verses, and the verses 11c 11d in common with i 121 (5c 5d); x 77, 78, of which the metre appears to be parallel to that of ii 11 (§ 94 iii d); and x 147, 148, of which the latter is decasyllabic, and has verses 2b 2c in common with ii 11 (4d 5a).
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106. III. With the sixth Maṇḍala we first meet a large homogeneous collection in the existing Saṃhitā text. The principal metre is Triṣṭubh, and decasyllabic and iambic variations are frequent: the family name Bharadvāja is common, refrain verses are occasional. Much the same is the character of the collections i 58-64 (Gotama Nodhas), 74-93 (Gotama), 165-191 (Māna).
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Group III. The collections included may be defined as follows:—
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(i) i 58-64. Hymns 60, 61, 63 contain a very large proportion of decasyllabic variations. The name Gotama occurs in 60 5b, 61 16b, 62 13a, 63 9a; Nodhas in 61 14d, 62 13c, 64 1b. All the hymns except 59 contain the refrain prātár makṣú ....
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Detach i 59. This hymn has iambic rhythm, and the family name Bharadvāja in 7b: but it clearly does not belong to this collection, and the ascription to Agni Vaiśvānara seems to indicate a late date (§ 98 iii).
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Attach viii 80-87 (80 has the Gotama Nodhas refrain), ix 93, 94 (§ 94 v; 93 has the Gotama Nodhas refrain).
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(ii) i 74-93. This collection has a greater variety of metres than any collection of the same length, most of them indicating the bardic period. The name Gotama occurs 77 5a, 78 1a 2a, 79 10b, 85 11b, 88 4c 5b, 92 7b. The collection is distinguished by a small group of Soma hymns (91).
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Detach i 83 and 84 13-15 (§ 103).
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Attach viii 88-90 (Gotama 88 4d) and ix 88, in which stanza 8 = i 91 3 (see also § 94 v).
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(iii) i 165-190. The prevailing metre is Triṣṭubh, with many decasyllabic variations. The name Māna or Mānya occurs 165 14b 15b, 169 8a, 171 5a, 177 5b, 182 8b, 184 4b 5b, 189 8b: Agastya only in 184 5d. The refrain vídyāmeṣám ... is regular: in 165-168, 175-176, 183-184 respectively it concludes stanzas which are common to the hymns thus connected. The collection is remarkable in containing only a single Agni hymn. A connection with Maṇḍala vi is indicated by the recurrence of 174 2b as vi 20 10c, and of 174 9 as vi 20 12.
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Detach i 182 (§§ 95 ii, 103), 188 (§§ 98 viii, 103).
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Attach i 104, x 48–50, which are marked by decasyllabic variations (§§ 94 iii a, v).
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(iv) vi. Besides Triṣṭubh hymns, which have often decasyllabic variations, this Maṇḍala contains several hymns in Gāyatrī and in Bṛhatī-Satoṛhatī Pragāthas, the latter seldom being quite regular. Several hymns, both lyric and trimeter, have occasional extra verses. The name Bharadvāja occurs 10 6c, 15 3e, 16 5c 33a, 17 14c, 23 10b, 25 9d, 31 4e, 35 4d, 47 25b, 48 7c 13a, 50 15b, 51 12b, 63 10c, 65 6b. The refrain verse tā tarema ... occurs 2 11e, 14 6e, 15 15e, and partly in 68 8d; the verse mādema śatāhimāḥ ... ends hymns 4, 10, 12, 13, 17, 24; the verse rayā madema ... ends hymn 19 and recurs 49 13d; the resemblance between these verses seems to point to a common authorship. The collection is marked by a large group of hymns to Indra (30–41), of which each consists of five Triṣṭubh stanzas. There are a few dānastutayaḥ.
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These characteristics are wanting in the Agni hymns 1, 5–9, in hymns 47 and 52, 59–62, and generally from 68 9 to the end of the Maṇḍala; and the Pūṣan group 53–58 is marked by late linguistic forms. It would therefore seem that considerable additions have been made to the collection at some later period.
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Detach 1, 5, 6 (§ 95 ii), 7 (§ 95 i) and 8 (§ 98 iii), 9 (§§ 98 iii, 103), 47 1–21 (§§ 95 i, ii, 102, 103), 52 4–12 (§ 95 ii), 16, 17 (§ 98 vi), 53–57 (§§ 102, 103), 58 (§ 95 i), 59 1–6 (§§ 94 i, 103), 68 9–73 (§§ 95 i, ii, 98 i, iv, 102). The position of several other hymns is doubtful: see especially § 95 ii.
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107. IV. The seventh Maṇḍala is also on the whole homogeneous. The predominant metre is Triṣṭubh, in which iambic rhythm is far more marked than elsewhere in the Rigveda, but decasyllabic variations are rare: there are found also several Bṛhatī-Satoṛhatī Pragāthas of a very regular character. Although these metres are quite strange to the later periods of the Rigveda, they are employed with a regularity which contrasts strikingly with the variety of form exhibited in Groups I–III, and brings this collection nearer to the normal period. The name Vasiṣṭha is common both in the singular and plural. Some hymns of a similar character are found in the group i 140–160, and in the ninth Maṇḍala.
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Group IV. (i) The long list of iambic hymns in Maṇḍala vii is given in § 94 v: the collection is also marked by several hymns in Virāj metre (§ 94 iv).
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The name Vasiṣṭha appears as follows: vii 1 8b, 7 7a, 9 6a, 12 3b, 22 3b, 23 1b 6b, 26 5a, 37 4d, 39 7a, 42 6a, 59 3b, 70 6c, 73 3d, 76 6a 7b, 77 6b, 80 1a, 86 5d, 88 1b 4a, 90 7b, 95 6a, 96 1d 3d: and outside the Mandala in *x 15 8b, 65 15a, 66 14a, 122 8a, 150 5c, and in association with the names of other bards in *x 181 1d. It also occurs in i 112, vii 18, *33, and in *x 95, but not as an author's name.
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The refrain *yūyám pātā* ... is usually found at the end of a stanza common to two consecutive hymns, viz. i 1–20 and 21–25, 3–4, 7–8, 20–21, 24–25, 39–40, 60–61, 62–63, 64–65, 67 and 69, 70–71, 72–73, 84–85, 90–91, 97–98, 99–100. Also the hymns vii 28–30, 34 and 56, 41 and 80, and x 65, 66 have the same concluding stanzas in each group. The refrain is found independently in hymns vii 9, 11–14, 19, 22, 23, 26, 27, 35–37, 42, 43, 45–48, 51, 53, 54, 57, 58, 75–79, 86–88, 92, 93, 95; ix 90, 97 1–3, 4–6; x 122.
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Many hymns shew cretic variations (§ 95 ii). Four of them are Agni hymns, and of these two are addressed to Agni Vaiśvānara (§ 98 iii): two of the four want the refrain. Another (54) is addressed to Vāstoṣpati, and out of order (§§ 98 i, 101). Another (101) is addressed to Parjanya (§ 98 vi), and this also wants the refrain. These, like the four Agni hymns, will most naturally be explained as late additions. Hymn 69 occurs in the Aśvin group, from which there is not sufficient reason to separate it. The historical hymn vii 18 1–21 wants the refrain, but it is accompanied by a dānastuti (st. 22–25) which has the usual iambic rhythm: the Uṣas hymns 78–80 form a group of three, and have the usual refrain. But the change of rhythm, in the one case running through 21 stanzas, and in the other through three successive, though short, hymns makes it difficult to think that any of these hymns are really homogeneous with the rest of the collection. If this is a right view, neither the mention of Vasiṣṭha (9 6a, 18 passim), nor the refrain verse is a sure indication that a particular hymn belongs to the original collection.
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The characteristic iambic rhythm is wanting in the whole series of hymns which extend (out of their order) from 44 to 55 (§ 101) and in all hymns outside the Mandala: whilst hymns 82, 83 are in Jagatī, a metre strange to the collection as a whole; they have a concluding stanza in common, but it does not include the refrain verse. All these hymns are probably the work of a later period, though some of them may have been composed by members of the Vasiṣṭha family. The general regularity of the Gāyatrī hymns to Agni and some others, and the absence of any mention of Vasiṣṭha in them, makes it likely they are also later additions.
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Detach 2 (§ 98 viii), 5 and 6 (§ 98 iii), 9–13 (§ 95 ii, 98 iii), 15, 18 1–21, 41 (§ 102), 44–48 (§ 98 ii, vii), 51–55 i (§ 98 iv, vii), 59 7–8 (§ 95 ii), 9–11 (§ 101), 78–80 (§ 95 ii), 82 and 83 (Jagatī), 89, 101 and 102 (§§ 95 ii, 98 vi, 103).
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Attach i 55–57 (§ 94 v), ix 70 (§ 94 v) with 71, 76 and 79 (§ 94 v), 107 (Brh.-Sat. and Virāj), 109 (§ 94 iii b), 110 (§ 94 iv), x 1 and 6 (§ 94 iii b and v), 150 (lyric metre, Vasiṣṭha 5c).
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(ii) Outside Mandala vii there appears in the collection i 140–160 a nucleus somewhat resembling it, in that iambic rhythm is common (§ 94 v), and hymn 149 is in Virāj metre. The name Māmateya, 147 3a, 152 6a, and 158 6a, is also a connecting link. The hymns that agree in character are i 141, 144, 147–156 and 158. See also § 97 iii.
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Detach i 140 (§ 95 ii), 142 (§§ 95 iii, 98 viii), 145 (§ 103), 146 (§ 95 ii), 159 and 160 (§§ 95 ii, 98 iv). Also hymns 143 and 157, though their rhythm is not very marked, would seem more probably to belong to the later additions.
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108. V. The Kaṇva collections, although scattered in Maṇḍalas i and viii, are easily recognized by their distinctive metres (Gāyatrī, Trochaic Gāyatrī, and Bṛhatī-Sato-bṛhatī Pragāthas), and by the family name. These collections are i 36–43, 44–50, viii 1–5, 6–11, 32–34, 49–57.
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Group V. The name Kaṇva appears i 36 8c 10c 11b 17b 19c, 37 1c 14b, 39 7d 9b; 44 8c, 45 5c, 46 9a, 47 2c 4c 5a 10c, 48 4c, 49 4d; viii 1 8c, 2 16c 22a 38c 40b, 3 16a, 4 2c 3d 20a, 5 4c 23a 25a; 6 3a 8c 11b 21b 31a 34a 43c, 7 18b 19c 32b, 8 3d 4c 8c 20a, 9 3c 9d 14d, 10 2b; 32 1b, 33 3a, 34 1b 4a; 49 5d 10a, 50 10a, 52 8d, 55 4a: also x 115 5a, for which see § 104 ii. Further we have the names Praskaṇva i 44 6c, 45 3d, viii 3 9d, 51 2a, 54 8d, Medhyātithi or Medhātithi i 36 10c 11a 17c, viii 1 30d, 2 40b, 8 20a, 33 4b, 49 9c, 51 1c, and ix 43 3c (see below), and Vatsa viii 6 1c, 8 7c 8d 11c 15b 19d, 9 1b 6c 15d, 11 7a. The names Upastuta, Vimada, Virūpa, Sobharī, Atri and Priyamedha also occur in Kaṇva hymns, and connect them with others contained in Groups I–III.
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Detach i 50 1–9 (§§ 98 v, 102).
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Attach i 14 (Kaṇva 2a 5b), 27 1–12 and 30 1–15 (§ 94 viii), ix 43 (Medhyātithi 3c), 58 (§ 97 v), 62 4–6 (§ 94 viii), 66 16–18 (§ 94 ii, viii), 19–21 (§ 94 viii), 67 25–27 (§ 94 ii), x 140 (cf. 6c with i 45 7c: see also § 94 v), 185 (§§ 94 viii, 97 i).
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109. VI. The principal collections of the normal period are Maṇḍalas iii and iv: to these are to be added the larger parts of Maṇḍalas ii and v, and of the collections i 1–30 and ix 1–67, 68–97. All of these shew a very close adherence to the normal forms of the Gāyatrī, Triṣṭubh, and Jagatī stanza: but the third Maṇḍala has certain features almost peculiar to itself which make a separate treatment desirable.
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Group VI. The hymns included fall under five headings:—
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(i) The hymns in Maṇḍala iv are chiefly in Triṣṭubh metre, but there are several Gāyatrī hymns. Common concluding stanzas are found in the Agni hymns 13, 14, the Indra hymns 16, 17 and 19 to 24, and the hymns 43 and 44 to the Aśvins. The name of Vāmadeva appears iv 16 18a, and may be that of the author of the hymns: if we are to interpret iv 4 11b literally, the author of that hymn is a son of Gotama: other proper names that occur are Kutsa 16 10b 11a 12a, 26 1c, 30 4b, Kakṣīvat 26 1b, Uśanā 26 1d, Divodāsa 26 3d, 30 20c, and again Gotama 32 9a 12a. Both iambic and cretic rhythm are rare: lyric and other early metres are occasional, as in 1 1-3, 10, 17, 21, 27, and sometimes take forms peculiar to this Maṇḍala. On the whole there seems little reason to suppose that the Maṇḍala contains either a nucleus of older hymns or a supplement of later additions: in any case only a very small part of the Maṇḍala is not homogeneous.
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*Attach* x 126 8=iv 12 6, and x 131 (refrain *suvíryasya*... as in iv 51).
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(ii) The greater part of the hymns of Maṇḍala ii seem to form a similar collection, except that Jagatī is common. The Indra hymns ii 15-18 have the concluding stanza *núnám sá te*..., which is also appended to the earlier hymns 11, 19, 20: its refrain verse is further found in the hymn-pairs 1 and 2, 13 and 14, and in the stanza which concludes each of the hymns 27-29, though it is only appropriate in 28. But, unlike Maṇḍala iv, many hymns which are not homogeneous appear to be included in the Maṇḍala.
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*Detach* 3 (§ 95 i, ii, 98 viii), 4-6 and 11 1-20 (§ 105 v), 12 and 13 (§ 103), 14 (connected with 13 by the concluding stanza *asmábhyam tád*...), 19, 20 and 22 (§ 105 v), 39 and 40 (§§ 95 ii, 103), 41 1-9 (§ 105 v), 10-12 (§§ 101, 103), 16-18 (§ 105 v).
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*Attach* ix 86 46-48 (refrain *bṛhád vadema*...), x 91, 92 (x 91 10=ii 1 2).
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(iii) Of similar character are the majority of the Trimeter hymns of Maṇḍala v, Jagatī being again common: and here we may naturally place those Gāyatrī hymns in that Maṇḍala which we have no special reason to assign to an earlier date. Amongst these hymns 57, 58 have in common the refrain stanza *hayé nárah*..., and 76, 77 the stanza *sám aśvínoh*.... The hymns thus included are 1, 3, 8, 11-15, 26, 29, 31, 32, 34, 37, 40 4, 44 1-3, 46-49, 54, 55, 57-60, 63, 69, 76, 77, 78 4, 80, 81, 85.
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*Detach* v 4 (§§ 95 ii, 98 iii), 5 (§§ 98 viii, 103), 28 1-3 (§ 95 i), 62 (§ 103).
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(iv) The group viii 39-42, having Mahāpaṅkti metre (§ 95 iv) with the refrain *nábhantām anyaké same*, containing a play on the family name *Nabhāka* (40 4a 5a), perhaps belongs to this period: for although the punning refrain reminds us of the Vimada hymns (x 20-26), yet the regularity of the metre stands in great contrast to them. Further the concluding verse viii 40 12d is identical with iv 50 6d.
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*Attach* viii 47 1-12 (also Mahāpaṅkti), x 133 (refrain *nábhantām anyakéṣaam*...) and 134 (Mahāpaṅkti).
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(v) The indications of date in the Soma Pavamāna hymns are very slight, and therefore a great number of them probably belong to this period. The great number of hymns in Gāyatrī metre, and the comparatively large number in Jagatī, further favour this conclusion. In ix 89 the refrain *suvíryasya*... is found, as in iv 51 10d.
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*Detach* 5 1-7 (§ 98 viii), 43 (§ 108 v), 58 (§ 97 v), 61-67 (§ 110 ii), 70, 71, 76 and 79 (§ 107 i), 80 (§ 95 ii), 88 (§ 106 ii), 90 (§ 111 ii), 93 and 94 (§ 106 i), 97 1-6 (§ 111 ii), 34-51 (§ 95 ii), 55-58 (§ 111 i), 98-111 (lyric metres).
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110. VII. The third Maṇḍala has a metrical character of its own, in that iambic variations of the type ◡ ‖ ◡ only are fairly common, side by side with cretic variations: so that the hymns seem to be intermediate in character between the Vasiṣṭha hymns and those of the cretic period. The metres used are Triṣṭubh and Gāyatrī. The family name Kuśika appears occasionally.
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The collections which extend from i 1 to 30 are almost entirely composed in Gāyatrī, the triplet being specially common: this metre may perhaps be connected with that of the third Maṇḍala.
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Group VII. The hymns included are as follows:
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(i) Maṇḍala iii. The refrain stanza īḷám agne ... connects hymns 1, 5–7, 15, 22, 23: and the refrain stanza śúnám huvema ... hymns 30–32, 34, 36, 38, 39, 43, 48–50. The family name Kuśika appears 26 1d 3b, 30 20d, 33 5d, 42 9c, 50 4d, 53 9d 10d 11a: we find also Viśvāmitra 1 21b, 18 4c, 53 7c 9c 12c 13a, and Jamadagni 53 15b, 62 18a. Hymns in Bṛhatī (9 1–8, 44, 45) appear to be characteristic of this collection: such hymns as 10, 11, 13, 16, 23–25, 41 may be of earlier date than the rest, but of this we cannot be sure in so peculiar a collection: cf. § 94 i, ii, iv, v, viii.
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Detach 2 and 3 (Jagati hymns: see also § 98 iii), 4 (§ 98 viii), 8 1–9 (§§ 95 i, 98 viii), 17 (§ 98 iii), 26 1–3 (as 2 and 3).
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- Ṛgvedasaṃhitā — Sanskrit