Written by - Mahesh Prasad Mishra
The Nasadiya Sukta (after the ná
ásat "not the non-existent") also known as the Hymn of Creation is
the 129th hymn of the 10th Mandala of the Rigveda (10:129). It is concerned
with cosmology and the origin of the universe. The hymn has attracted a large
body of literature of commentaries both in Indian theology and in Western
philology. It begins by paradoxically
stating "not the non-existent
existed, nor did the existent exist then" (ná ásat āsīt ná u sát āsīt
tadânīm), paralleled in verse 2 by "then not death existed, nor the
immortal" (ná mṛtyúḥ āsīt amŕtam ná tárhi).
But already in verse 2 mention is made that there was "breathing without breath, of its own nature, that one" ânīt avātám svadháyā tát ékam). In verse 3, being unfolds, "from meditation (tapas) was born that one" (tápasaḥ tát mahinâ ajāyata ékam). Verse 4 mentions desire (kāma) as the primal seed, and the first poet-seers (kavayas) who "found the bond of being within non-being with their heart's thought".
Brereton (1999) argues that the reference to the sages searching for being in their spirit is central, and that the hymn's gradual procession from non-being to being in fact re-enacts creation within the listener, equating poetic utterance and creation. The hymn is undoubtedly late within the Rigveda, and expresses thought more typical of later Indian philosophy. The hymn has been interpreted as one of the earliest accounts of skeptical inquiry and agnosticism. "The One" repeatedly discussed in the Rigveda has been suggested to have originally referred to the axis mundi, and "The One who dwells beyond the seven sages" (1.164) as the polar star (at the time perhaps Thuban).
The hymn that immediately follows (10.130) deals with the origin of sacrifice and refers to purus "a Man", identified with Prajāpati by Sāyana.The hymn contemplates that the first sacrifice was performed by humans who by that act were elevated to rishis, alluding to the mythical first sacrifice performed by the gods described in the Purusha Sukta (RV 10.90) verse 6:
So by this knowledge men were raised to rishis, when ancient sacrifice sprang up, our fathers. With the mind's eye I think that I behold them who first performed this sacrificial worship. The questions in verse 3, "What were the rule, the order and the model? What were the wooden fender and the butter?" refer back to the questions in 10.129 ("what was above it then, and what below it?" etc.)
But already in verse 2 mention is made that there was "breathing without breath, of its own nature, that one" ânīt avātám svadháyā tát ékam). In verse 3, being unfolds, "from meditation (tapas) was born that one" (tápasaḥ tát mahinâ ajāyata ékam). Verse 4 mentions desire (kāma) as the primal seed, and the first poet-seers (kavayas) who "found the bond of being within non-being with their heart's thought".
Brereton (1999) argues that the reference to the sages searching for being in their spirit is central, and that the hymn's gradual procession from non-being to being in fact re-enacts creation within the listener, equating poetic utterance and creation. The hymn is undoubtedly late within the Rigveda, and expresses thought more typical of later Indian philosophy. The hymn has been interpreted as one of the earliest accounts of skeptical inquiry and agnosticism. "The One" repeatedly discussed in the Rigveda has been suggested to have originally referred to the axis mundi, and "The One who dwells beyond the seven sages" (1.164) as the polar star (at the time perhaps Thuban).
The hymn that immediately follows (10.130) deals with the origin of sacrifice and refers to purus "a Man", identified with Prajāpati by Sāyana.The hymn contemplates that the first sacrifice was performed by humans who by that act were elevated to rishis, alluding to the mythical first sacrifice performed by the gods described in the Purusha Sukta (RV 10.90) verse 6:
So by this knowledge men were raised to rishis, when ancient sacrifice sprang up, our fathers. With the mind's eye I think that I behold them who first performed this sacrificial worship. The questions in verse 3, "What were the rule, the order and the model? What were the wooden fender and the butter?" refer back to the questions in 10.129 ("what was above it then, and what below it?" etc.)
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