The History of Antiquity, Vol. 4 (of 6). Duncker Max

more northern region in the fact that the older poems in the collection count by winters, and the later by autumns.53 In any case there is no remembrance of earlier abodes, and therefore we must conclude that even the oldest of these poems had been sung long after the immigration. If the assumption established above, that the immigration took place soon after 2000 B.C., is approximately probable, the extinction of any memory of earlier abodes and fortunes will hardly allow us to carry back the origin of the oldest songs of the Veda beyond the sixteenth century B.C.

      On the other hand, the hymns of the Veda contain conceptions of the creation and early ages of the world, the outlines of which, like the conception of the contrast between the men of the old time and the present, must have been brought by the Aryas into the land of the Indus from the common possession of the Aryan tribes. The oldest man, the father and progenitor of the Aryas, is, in the hymns of the Veda, Manu, the son of Vivasvat, i. e. "the illuminating," the sun. Frequent mention occurs in these poems of the "father Manu," of "our father Manu," "the paternal path which Manu trod," "the children of Manu," "the people of Manu." Manu brought the first offering to the gods of light; with Atharvan and Dadhyanch he kindled the first sacrificial fire; he has set Agni to give light to all the people, and to summon the gods, and prayed to him with Bhrigu and Angiras.54 Five races of men sprung from Agni – the Yadus, the Turvaças, Druhyus, Anus, and Purus.55 Beside Manu stands Yama (geminus), like Manu, the son of Vivasvat. In the hymns of the Rigveda he is the assembler of the people, the king, the pattern of just dealing. He "has discovered the path which leads from the deeps to the heights;" he "has removed the darkness," and "made smooth the path of the godly." He first discovered the resting-place from which no one drives out those who are there. From the depth of the earth he first ascended to the heights of heaven; he has had experience of death, he has entered into heaven, and there gathered round him all the godly and brave. "He went before us, and found for us a dwelling-place on a plain, which no one takes from us, whither the fathers of old time have gone; thither his path guides every child of earth."56

      Manu and Yama are not unknown to the mythology of the nations of Iran. With the Iranians Yama is Yima; his father, according to the laws of the Bactrian, the language of East Iran, is not Vivasvat, but Vivanghat. The meaning is of course the same. According to the myths of Iran, Yima is the sovereign who first established the cultus of fire, and first tilled the field with the plough. In his reign of 1000 years there was neither heat nor cold, hunger nor thirst, age nor sickness, hate nor strife. And when this golden age came to an end, Yima continued to live an equally happy life in his garden on the mountain of the gods (i. e. in heaven), where the sun, moon, and stars shone together, where there was neither night nor darkness, in everlasting light with the elect. In the Rigveda the sacrificers of old time, who kindled the fire with Manu, and offered the first sacrifice, – Angiras, Bhrigu, Atharvan, and their families, – are half divine creatures, though not quite on an equal with Manu and Yama. They were ranged with the spirits of light, and shone like them, though with less brilliancy.57 In the faith of the Aryas the good and pious deed confers supernatural power; it makes the body light, and therefore like the body of the gods. The myths of Iran also praise certain heroes and sages of old time, who sacrificed first after Yima.

      We can ascertain with exactness the region in which the greater number of these poems grew up. The Indus is especially the object of praise; the "seven rivers" are mentioned as the dwelling-place of the Aryas. This aggregate of seven is made up of the Indus itself and the five streams which unite and flow into it from the east – the Vitasta, Asikni, Iravati, Vipaça, Çatadru. The seventh river is the Sarasvati, which is expressly named "the seven-sistered." The land of the seven rivers is, as has already been remarked, known to the Iranians. The "Sapta sindhava" of the Rigveda are, no doubt, the hapta hendu of the Avesta, and in the form Harahvaiti, the Arachotus of the Greeks, we again find the Sarasvati in the east of the table-land of Iran. As the Yamuna and the Ganges are only mentioned in passing (p. 11), and the Vindhya mountains and Narmadas are not mentioned at all, the conclusion is certain that, at the time when the songs of the Aryas were composed, the nation was confined to the land of the Panjab, though they may have already begun to move eastward beyond the valley of the Sarasvati.58

      We gather from the songs of the Rigveda that the Aryas on the Indus were not one civic community. They were governed by a number of princes (raja). Some of these ruled on the bank of the Indus, others in the neighbourhood of the Sarasvati.59 They sometimes combined; they also fought not against the Dasyus only, but against each other. They ruled over villages (grama), and fortified walled places (pura), of which overseers are mentioned (gramani, purpati).60 We find minstrels and priests in their retinue. "Glorious songs of praise," says one of them, "did I frame by my skill for Svanaya, the son of Bavya, who dwells on the Indus, the unconquerable prince." Other poems in the Veda tell us that the princes make presents to the minstrels and priests of cows, chariots, robes, slave-women, and bars of gold. Whatever we may have to deduct from these statements on the score of poetical exaggeration, they still show that the court and possessions of the princes cannot have been utterly insignificant. The descriptions of the ornaments and weapons of the gods in the Rigveda are without a doubt merely enlarged copies of the style and habit of the princes. The gods travel in golden coats of mail, on splendid chariots, yoked with horses; they have palaces with a thousand pillars and a thousand gates; they linger among the lights of the sky, like a king among his wives.61 From these pictures, by reducing the scale, we may represent to ourselves the life and customs of the princes in the land of the Indus.

      From the numerous invocations for victory and booty, it follows that the life of the Aryas in the Panjab was disturbed by wars, that raids and feuds must have been frequent. War-chariots, and infantry, standard-bearers, bows, spears, swords, axes, and trumpets are mentioned.62 We learn that those who fought in chariots were superior to the foot-soldiers. "There appears like the lustre of a cloud when the mailed warrior stalks into the heart of the combat. Conquer with an unscathed body; let the might of thine armour protect thee. With the bow may we conquer cattle; with the bow may we conquer in the struggle for the mastery, and in the sharp conflicts. The bow frustrates the desire of our enemy; with the bow may we conquer all the regions round. The bow-string approaches close to the bowman's ear, as if to speak to or embrace a dear friend; strung upon the bow, it twangs like the scream of a woman, and carries the warrior safely through the battle. Standing on the chariot, the skilful charioteer directs the horses whithersoever he wills. Laud the power of the reins, which far behind control the impulse of the horses. The strong-hoofed steeds, rushing on with the chariots, utter shrill neighings; trampling the foe with their hoofs, they crush them, never receding." Again and again are the gods invoked that the bow-strings of the enemy may be snapped.63

      The poems of the Veda distinguish the rich from the poor. The cultivation of the land is practised and recommended. Corn (dhana), barley, beans, and sesame were sown, but the rice of the Ganges valley is unknown. Channels also are mentioned for leading water on the land.

      Healing herbs are not unknown to the poems, nor the person who is skilled in applying them, the physician. We find in them the desire for health and a long life,64 blessed with abundance, with sons and daughters. Beautiful garments, precious stones, adorned women with four knots of hair, dancers, wine-houses, and dice are repeatedly mentioned. Weaving and leather-work are known, and also the crafts of the smith, the carpenter, the wheelwright, and the shipbuilder.65

      Among the Aryas of those days more attention must have been given to the breeding of cattle than to the cultivation of the field. A great number of similes and metaphors in the hymns of the Veda show that the Aryas must have lived long with their flocks, and that they stood to them in relations of the closest

53

A. Weber, "Ind. Studien," 1. 88.

54

Muir, "Sanskrit texts," 12, 160 ff.

55

Kuhn in Weber, "Ind. Stud." 1. 202. The Çatapatha-Brahmana (Weber, "Ind. Stud." 1. 161) tells us that Manu, when washing his hands in the morning, took a fish in his hands, which said to him – "Spare me, and I will save thee; a flood will wash away all creatures." The fish grew to a monstrous size, and Manu brought him to the ocean; and it bid Manu build a ship, and embark on the ocean. When the flood rose, the fish swam beside the ship, and Manu attached it by a rope to the horn of the fish. Thus the ship passed over the northern mountains. And the fish told Manu that he had saved him, and bade him fasten the ship to a tree. So Manu went up as the waters sank from the northern hills. The flood carried away all creatures; Manu alone remained. Eager for posterity, Manu offered sacrifice, and threw clarified butter, curdled milk, and whey into the water. After a year a woman rose out of the water, with clarified butter under her feet. Mitra and Varuna asked her whether she was their daughter, but she replied that she was the daughter of Manu, who had begotten her, and she went to Manu and told him that he had begotten her by the sacrifice which he had thrown into the water. He was to conduct her to the sacrifice, and he would then receive posterity and herds. And Manu did so, and lived with her with sacrifice and strict meditation, and through her began the posterity of Manu. Cf. M. Müller, "Hist. of Sanskrit Liter." p. 425 ff. The later form of the Indian legend of the flood is found in an episode of the Maha-bharata. Here the fish appears to Manu when he is performing some expiatory rites on the shore of a river. The fish grew so mighty that Manu was compelled to bring it into the Ganges, and when it became too large for this into the ocean. When swimming in the ocean the fish announced the flood, and bade Manu and the seven saints (Rishis) ascend the ship, and take with them all kinds of seeds. Then the fish drew the ship attached to his horn through the ocean, and there was no more land to be seen; for several years all was water and sky. At last the fish drew the ship to the highest part of the Himavat, and with a smile bade the rishis bind the ship to this, which to this day bears the name of Naubandhana (ship-binding). Then the fish revealed himself to the seven saints as Brahman, and commanded Manu to create all living creatures, gods, Asuras, and men, and all things movable and immovable; which command Manu performed. The legend overlooks the fact that the new creation was unnecessary, as we have already been told that Manu brought seeds of everything on board ship. The poems of the Rigveda present no trace of the legend of the flood. It may have arisen in the land of the Ganges, from the experience of the floods there, unless it is simply borrowed from external sources. In any case it is of later date; the Çatapatha-Brahmana is one of the later Brahmanas. Weber, "Ind. Stud." 9, 423; Kuhn, "Beiträge," 4, 288. I cannot follow De Gubernatis, "Letture," p. 228, ff, seqq.

56

Kaegi, "Rigveda," 2, 58.

57

On the Bhrigus see A. Weber, "Z. D. M. G." 9, 240. Kuhn, "Herabkunft," s. 21 ff.

58

On the Sarayu, which is mentioned, "Rigveda," 4, 30, 14, and 10, 64, 9, cf. Lassen, loc. cit. 12, 644.

59

"Rigveda," 1, 126, 1; 8, 21, 18.

60

Muir, loc. cit. 5, 451, 456.

61

"Rigveda," 7, 18, 2; in Muir, loc. cit. 5, 455.

62

"Rigveda," 1, 28, 5; 6, 47, 29.

63

"Rigveda." 6, 75, in Muir, loc. cit. 5, 469, 471.

64

Roth, "Das lied des Arztes," "Rigveda," 10, 97. "Z. D. M. G." 1871, 645.

65

Muir, loc. cit. 5, 457, 461, 465.