The History of Hinduism and Buddhism. Charles Eliot
built up the figures of Siva, Râma and Krishna which astonish us by their sudden appearance in later literature only because their earlier phases have not been preserved.
The Vedic hymns were probably collected and arranged between 1000 and 500 B.C. At that period rites and ceremonies multiplied and absorbed man's mind to a degree unparalleled in the history of the world and literature occupied itself with the description or discussion of this dreary ceremonial. Buddhism was a protest against the necessity of sacrifices and, though Buddhism decayed in India, the sacrificial system never recovered from the attack and assumed comparatively modest proportions. But in an earlier period, after the composition of the Vedic hymns and before the predominance of speculation, skill in ceremonial was regarded as the highest and indeed only science and the ancient prayers and poems of the race were arranged in three collections to suit the ritual. These were the Rig Veda, containing metrical prayers: the Yajur Veda (in an old and new recension known as the Black and the White) containing formulæ mainly in prose to be muttered during the course of the sacrifice: and the Sâma Veda, a book of chants, consisting almost entirely of verses taken from the Rig Veda and arranged for singing. The Rig Veda is clearly older than the others: its elements are anterior to the Brahmanic liturgy and are arranged in less complete subservience to it than in the Yajur and Sâma Vedas.
The restriction of the words Veda and Vedic to the collection of hymns, though convenient, is not in accordance with Indian usage, which applies the name to a much larger body of religious literature. What we call the Rig Veda is strictly speaking the mantras of the Rig Veda or the Rig-Veda-Saṃhitâ: besides this, there are the Brâhmaṇas or ceremonial treatises, the Âraṇyakas and Upanishads containing philosophy and speculation, the Sûtras or aphoristic rules, all comprised in the Veda or Śruti (hearing), that is the revelation heard directly by saints as opposed to Smṛiti (remembering) or tradition starting from human teachers. Modern Hindus when not influenced by the language of European scholars apply the word Veda especially to the Upanishads.
For some time only three[145] Vedas were accepted. But the Epics and the Puranas know of the fourfold Veda and place the Atharva Veda on a level with the other three. It was the manual of two ancient priestly families, the Atharvans and Angirasas, whose speciality was charms and prophylactics rather than the performance of the regular sacrifices. The hymns and magic songs which it contains were probably collected subsequently to the composition of the Brâhmaṇas, but the separate poems are older and, so far as can be judged from their language, are intermediate between the Rig Veda and the Brâhmaṇas. But the substance of many of the spells must be older still, since the incantations prescribed show a remarkable similarity to old German, Russian and Lettish charms. The Atharva also contains speculative poems and, if it has not the freshness of the Rig Veda, is most valuable for the history of Indian thought and civilization.
I will not here enquire what was the original home of the Aryans or whether the resemblances shown by Aryan languages justify us in believing that the ancestors of the Hindus, Greeks, Kelts, Slavs, etc., belonged to a single race and physical type. The grounds for such a belief seem to me doubtful. But a comparison of language, religion and customs makes it probable that the ancestors of the Iranians and Hindus dwelt together in some region lying to the north of India and then, in descending southwards, parted company and wandered, one band westwards to Persia and the other to the Panjab and south-east[146]. These latter produced the poets of the Rig Veda. Their home is indicated by their acquaintance with the Himalayas, the Kabul river, the Indus and rivers of the Panjab, and the Jamna. The Ganges, though known, apparently lay beyond their sphere, but the geography of the Atharva extends as far as Benares and implies a practical knowledge of the sea, which is spoken of somewhat vaguely in the Rig Veda. It is probable that the oldest hymns were composed among the rivers of the Panjab, but the majority somewhat further to the east, in the district of Kurukshetra or Thanesar. At some period subsequent to the Aryan immigration there was a great struggle between two branches of the same stock, related in a legendary form as the contest between the Kauravas and Pâṇḍavas. Some have thought that we have here an indication of a second invasion composed of Aryans who remained in the mountainous districts north of the Hindu Kush when the first detachment moved south and who developed there somewhat different customs. It is also possible that the Atharva Veda may represent the religious ideas of these second invaders. In several passages the Mahâbhârata speaks of the Atharva as the highest Veda and represents the Pâṇḍavas as practising polyandry, a custom which still prevails among many Himalayan tribes.
The Rig Veda depicts a life not far advanced in material arts but, considering the date, humane and civilized. There were no towns but merely villages and fortified enclosures to be used as refuges in case of necessity. The general tone of the hymns is kindly and healthy; many of them indeed have more robust piety than interest. There are few indications of barbarous customs. The general impression is of a free and joyous life in which the principal actors are chiefs and priests, though neither have become tyrannical.
The composition of this anthology probably extended over several centuries and comprised a period of lively mental growth. It is therefore natural that it should represent stages of religious development which are not contemporaneous. But though thought is active and exuberant in these poems they are not altogether an intellectual outburst excited by the successful advance into India. The calm of settlement as well as the fire of conquest have left their mark on them and during the period of composition religion grew more boldly speculative but also more sedentary, formal and meticulous. The earliest hymns bear traces of quasi-nomadic life, but the writers are no longer nomads. They follow agriculture as well as pasturage, but they are still contending with the aborigines: still expanding and moving on. They mention no states or capitals: they revere rivers and mountains but have no shrines to serve as religious centres, as repositories and factories of tradition. Legends and precepts have of course come down from earlier generations, but are not very definite or cogent: the stories of ancient sages and warriors are vague and wanting in individual colour.
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The absence of sculpture and painting explains much in the character of the Vedic deities. The hymn-writers were devout and imaginative, not content to revere some undescribed being in the sky, but full of mythology, metaphor and poetry and continually singling out new powers for worship. Among many races the conceptions thus evolved acquire solidity and permanence by the aid of art. An image stereotypes a deity, worshippers from other districts can see it and it remains from generation to generation as a conservative and unifying force. Even a stone may have something of the same effect, for it connects the deity with the events, rites and ideas of a locality. But the earliest stratum of Vedic religion is worship of the powers of nature—such as the Sun, the Sky, the Dawn, the Fire—which are personified but not localized or depicted. Their attributes do not depend at all on art, not much on local or tribal custom but chiefly on imagination and poetry, and as this poetry was not united in one collection until a later period, a bard was under no obligation to conform to the standards of his fellows and probably many bards sang without knowing of one another's existence.
Such a figure as Agni or Fire—if one can call him a figure—illustrates the fluid and intangible character of Vedic divinities. He is one of the greatest in the Pantheon, and in some ways his godhead is strongly marked. He blesses, protects, preserves, and inspires: he is a divine priest and messenger between gods and men: he "knows all generations." Yet we cannot give any definite account of him such as could be drawn up for a Greek deity. He is not a god of fire, like Vulcan, but the Fire itself regarded as divine. The descriptions of his appearance are not really anthropomorphic but metaphorical imagery depicting shining, streaming flames. The hymns tell us that he has a tawny beard and hair: a flaming head or three heads: three tongues or seven: four eyes or a thousand. One poem says that he faces in all directions: another that he is footless and headless. He is called the son of Heaven and Earth, of Tvashṭri and the Waters, of the Dawn, of Indra-Vishnu. One singer says that the gods generated him to be a light for the Aryans, another that he is the father of the gods. This multiple origin becomes more definite in the theory of Agni's three births: he is born on earth from the friction of fire sticks, in the clouds as lightning, and in the highest heavens as the Sun or celestial light. In virtue of this triple birth he assumes a triune character: his heads, tongues, bodies and dwellings are three,