CHAPTER V.
THE RIG VEDA (CONTINUED).—THE LOWER GODS.
AGNI.
Great are the heavenly gods, but greater is Indra, god of the atmosphere. Greatest are Agni and Soma, the gods of earth.
Agni is the altar-fire. Originally fire, Agni, in distinction from sun and lightning, is the fire of sacrifice; and as such is he great. One reads in v. 3. 1-2, that this Agni is Varuna, Indra; that in him are all the gods. This is, indeed, formally a late view, and can be paralleled only by a few passages of a comparatively recent period. Thus, in the late hymn i. 164. 46: "Indra, Mitra, Varuna, Agni, they say; he is the sun (the bird in the sky); that which is but one they call variously," etc. So x. 114. 5 and the late passage iii. 38. 7, have reference to various forms of Agni.
Indra had a twofold nature in producing the union of lightning and Agni; and this made him mysteriously great. But in Agni is found the first triality, which, philosophically, is interpreted as a trinity. The fire of the altar is one with the lightning, and, again, one with the sun. This is Agni's threefold birth; and all the holy character of three is exhausted in application where he is concerned. It is the highest mystery until the very end of the Vedic age. This Agni it is that is the real Agni of the Rig Veda—the new Agni; for there was probably an Agni cult (as simple fire) long before the soma cult. Indra and Agni are one, and both are called the slayers of the demons[1]. They are both united as an indissoluble pair (iii. 12, etc.). Agni, with, perhaps, the exception of Soma, is the most important god in the Rig Veda; and it is no chance that gives him the first place in each family hymn-book; for in him are found, only in more fortunate circumstances, exactly the same conditions as obtain in the case of Indra. He appealed to man as the best friend among divine beings; he was not far off, to be wondered at; if terrible, to be propitiated. He was near and kind to friends. And as he seemed to the vulgar so he appealed to the theosophy which permeates the spirit of the poets; for he is mysterious; a mediator between god and man (in carrying to heaven the offerings); a threefold unity, typical of earth, atmosphere, and heaven. From this point of view, as in the case of Indra, so in the case of Agni, only to a greater extent, it becomes impossible to interpret Agni as one element, one phenomenon. There is, when a distinction is made, an agni which is single, the altar-fire, separate from other fires; but it is seldom that Agni is not felt as the threefold one.
And now for the interpretation of the modern ritualists. The Hindu ritual had 'the three fires,' which every orthodox believer was taught to keep up. The later literature of the Hindus themselves very correctly took these three fires as types of the three forms of Agni known in the Rig Veda. But to the ritualists the historical precedence is inverted, and they would show that the whole Vedic mythological view of an Agni triad is the result of identifying Agni with the three fires of the ritual. From this crass method of interpretation it would result that all Vedic mythology was the child of the liturgy[2].
As earthly fire Agni is first ignis:[3] "Driven by the wind, he hastens through the forest with roaring tongues…. black is thy path, O bright immortal!" "He mows down, as no herd can do, the green fields; bright his tooth, and golden his beard." "He devours like a steer that one has tied up." This is common fire, divine, but not of the altar. The latter Agni is of every hymn. For instance, the first stanza of the Rig Veda: "Agni, the family priest, I worship; the divine priest of sacrifice; the oblation priest, who bestows riches," where he is invoked under the names of different priests. But Agni is even more than this; he is the fire (heat) that causes production and reproduction, visibly manifest in the sun. This dual Agni, it is to be noticed, is at times the only Agni recognized. The third form is then added, lightning, and therewith Agni is begotten of Indra, and is, therefore, one with Indra: "There is only one fire lighted in many places" (V[=a]l. 10. 2). As a poetical expression, Agni in the last form is the 'Son of Waters,' an epithet not without significance in philosophical speculation; for water, through all periods, was regarded as the material origin of the universe.
Agni is one with the sun, with lightning (and thunder), and descends into the plants.[4] To man he is house-priest and friend. It is he that has "grouped men in dwelling-places" (iii. 1. 17) like Prometheus, in whose dialectic name, Promantheus, lingers still the fire-creator, the twirling (math) sticks which make fire in the wood. He is man's guest and best friend (Mitra, iv. 1. 9; above).
An hymn or two entire will show what was Agni to the Vedic poet. In the following, the Rig Veda's first hymn, he is addressed, in the opening stanza, under the names of house-priest, the chief sacrificial priest, and the priest that pours oblations. In the second stanza he is extolled as the messenger who brings the gods to the sacrifice, himself rising up in sacrificial flames, and forming a link between earth and heaven. In a later stanza he is called the Messenger (Angiras =[Greek: aggelos]),—one of his ordinary titles:
To AGNI (i. 1).
I worship Agni; house-priest, he,
And priest divine of sacrifice,
Th' oblation priest, who giveth wealth.
Agni, by seers of old adored,
To be adored by those to-day—
May he the gods bring here to us.
Through Agni can one wealth acquire,
Prosperity from day to day,
And fame of heroes excellent.
O, Agni! whatsoe'er the rite
That thou surround'st on every side,
That sacrifice attains the gods.
May Agni, who oblation gives—
The wisest, true, most famous priest—
This god with (all) the gods approach I
Thou doest good to every man
That serves thee, Agni; even this
Is thy true virtue, Angiras.
To thee, O Agni, day by day,
Do we with prayer at eve and dawn,
Come, bringing lowly reverence;
To thee, the lord of sacrifice,
And shining guardian of the rite,[5]
In thine own dwelling magnified.
As if a father to his son,
Be easy of access to us,
And lead us onward to our weal.
This is mechanical enough to have been made for an established ritual, as doubtless it was. But it is significant that the ritualistic gods are such that to give their true character hymns of this sort must be cited. Such is not the case with the older gods of the pantheon. Ritualistic as it is, however, it is simple. Over against it may be set the following (vi. 8): "Now will I praise the strength of the variegated red bull (Agni), the feasts of the Knower-of-beings[6] (Agni); to Agni, the friend of all men, is poured out a new song, sweet to him as clear soma. As soon as he was born in highest heaven, Agni began to protect laws, for he is a guardian of law (or order). Great in strength, he, the friend of all men, measured out the space between heaven and earth, and in greatness touched the zenith; he, the marvellous friend, placed apart heaven and earth; with light removed darkness; separated the two worlds like skins. Friend of all men, he took all might to himself…. In the waters' lap the mighty ones (gods) took him, and people established him king. M[=a]tariçvan, messenger of the all-shining one, bore him from afar, friend of all men. Age by age, O Agni, give to poets new glorious wealth for feasts. O ever-youthful king, as if with a ploughshare, rend the sinner; destroy him with thy flame, like a tree! But among our lords bring, O Agni, power unbent, endless strength of heroes; and may we, through thy assistance, conquer wealth an hundredfold, a thousandfold, O Agni, thou friend of all; with thy sure protection protect our royal lords, O helper, thou who hast three habitations; guard for us the host of them that have been generous, and let them live on, friend of all, now that thou art lauded."
Aryan, as Kuhn[7] has shown, is at least the conception if not the particular form of the legend alluded to in this hymn, of fire brought from the sky to earth, which Promethean act is attributed elsewhere to the fire-priest.[8] Agni is here Mitra, the friend, as sun-god, and as such takes all the celestials' activities on himself. Like Indra he also gives personal strength: "Fair is thy face, O Agni, to the mortal that desires strength;—they whom thou dost assist overcome their enemies all their lives" (vi. 16. 25, 27). Agni is drawn down to earth by means of the twirling-sticks, one the father, one the mother[9]. "The bountiful wood bore the fair variegated son of waters and plants;[10] the gods united in mind, and payed homage to the glorious mighty child when he was born" (iii. 1. 13). As the son of waters, Agni loves wood but retreats to water, and he is so identified with Indra that he 'thunders' and 'gives rain' (as lightning; ii. 6. 5; iii. 9. 2).
The deeper significance of Agni-worship is found not alone in the fact that he is the god in whom are the other gods, nor in that he is the sun alone, but that "I am Agni, immortality is in my mouth; threefold my light, eternal fire, my name the oblation (fire)," iii. 26. 7. He is felt as a mysterious trinity. As a sun he lights earth; and gives life, sustenance, children, and wealth (iii. 3. 7); as lightning he destroys, as fire he befriends; like Indra he gives victory (iii. 16. 1); like Varuna he releases the bonds of sin; he is Varuna's brother (v. 2. 7; vi. 3. 1; iv. 1. 2); his 'many names' are often alluded to (iii. 20. 3, and above). The ritualistic interpretation of the priest is that the sun is only a sacrificial fire above lighted by the gods as soon as the corresponding fire is lighted on earth by men (vi. 2. 3). He is all threefold; three his tongues, his births, his places; thrice led about the sacrifice given thrice a day (iii. 2. 9; 17. 1; 20. 2; iv, 15. 2; 1. 7; 12. 1). He is the upholder of the religious order, the guest of mortals, found by the gods in the heavenly waters; he is near and dear; but he also becomes dreadful to the foe (iii. 1. 3-6; 6. 5; vi. 7. 1; 8. 2; iii. 1. 23; 22. 5; vi. 3. 7; iii. 18. 1; iv. 4. 4; 1. 6).
It is easy to see that in such a conception of a triune god, who is fearful yet kind, whose real name is unknown, while his visible manifestations are in earth, air, and heaven, whose being contains all the gods, there is an idea destined to overthrow, as it surpasses, the simpler conceptions of the naturalism that precedes it. Agni as the one divine power of creation is in fact the origin of the human race: "From thee come singers and heroes" (vi. 7. 3). The less weight is, therefore, to be laid on Bergaigne's 'fire origin of man'; it is not as simple fire, but as universal creator that Agni creates man; it is not the 'fire-principle'[11] philosophically elicited from connection of fire and water, but as god-principle, all-creative, that Agni gets this praise.
Several hymns are dedicated to Indr[=a]gni, Indra united with Agni; and the latter even is identified with Dyaus (iv. 1. 10), this obsolescent god reviving merely to be absorbed into Agni. As water purifies from dirt and sin (Varuna), so fire purifies (iv. 12. 4). It has been suggested on account of v. 12. 5: 'Those that were yours have spoken lies and left thee,' that there is a decrease in Agni worship. As this never really happened, and as the words are merely those of a penitent who has lied and seeks forgiveness at the hands of the god of truth, the suggestion is not very acceptable. Agni comprehends not only all naturalistic gods, but such later femininities as Reverence, Mercy, and other abstractions, including Boundlessness.
Of how great importance was the triune god Agni may be seen by comparing his three lights with the later sectarian trinity, where Vishnu, originally the sun, and (Rudra) Çiva, the lightning, are the preserver and destroyer.
We fear the reader may have thought that we were developing rather a system of mythology than a history of religion. With the close of the Vedic period we shall have less to say from a mythological point of view, but we think that it will have become patent now for what purpose was intended the mythological basis of our study. Without this it would have been impossible to trace the gradual growth in the higher metaphysical interpretation of nature which goes hand in hand with the deeper religious sense. With this object we have proceeded from the simpler to the more complex divinities. We have now to take up a side of religion which lies more apart from speculation, but it is concerned very closely with man's religious instincts—the worship of Bacchic character, the reverence for and fear of the death-god, and the eschatological fancies of the poets, together with those first attempts at creating a new theosophy which close the period of the Rig Veda.
SOMA.
Inseparably connected with the worship of Indra and Agni is that of the 'moon-plant,' soma, the intoxicating personified drink to whose deification must be assigned a date earlier than that of the Vedas themselves. For the soma of the Hindus is etymologically identified with the haoma of the Persians (the [Greek: omomi] of Plutarch[12]), and the cultus at least was begun before the separation of the two nations, since in each the plant is regarded as a god. The inspiring effect of intoxication seemed to be due to the inherent divinity of the plant that produced it; the plant was, therefore, regarded as divine, and the preparation of the draught was looked upon as a sacred ceremony[13].
This offering of the juice of the soma-plant in India was performed thrice daily. It is said in the Rig Veda that soma grows upon the mountain M[=u]javat, that its or his father is Parjanya, the rain-god, and that the waters are his sisters[14]. From this mountain, or from the sky, accounts differ, soma was brought by a hawk[15]. He is himself represented in other places as a bird; and as a divinity he shares in the praise given to Indra, "who helped Indra to slay Vritra," the demon that keeps back the rain. Indra, intoxicated by soma, does his great deeds, and indeed all the gods depend on soma for immortality. Divine, a weapon-bearing god, he often simply takes the place of Indra and other gods in Vedic eulogy. It is the god Soma himself who slays Vritra, Soma who overthrows cities, Soma who begets the gods, creates the sun, upholds the sky, prolongs life, sees all things, and is the one best friend of god and man, the divine drop (índu), the friend of Indra[16].
As a god he is associated not only with Indra, but also with Agni, Rudra, and P[=u]shan. A few passages in the later portion of the Rig Veda show that soma already was identified with the moon before the end of this period. After this the lunar yellow god regularly was regarded as the visible and divine Soma of heaven, represented on earth by the plant[17].
From the fact that Soma is the moon in later literature, and undoubtedly is recognized as such in a small number of the latest passages of the Rig Veda, the not unnatural inference has been drawn by some Vedic scholars that Soma, in hymns still earlier, means the moon; wherever, in fact, epithets hitherto supposed to refer to the plant may be looked upon as not incompatible with a description of the moon, there these epithets are to be referred directly to Soma as the moon-god, not to soma, the mere plant. Thus, with Rig Veda, X. 85 (a late hymn, which speaks of Soma as the moon "in the lap of the stars," and as "the days' banner") is to be compared VI. 39. 3, where it is said that the drop (soma) lights up the dark nights, and is the day's banner. Although this expression, at first view, would seem to refer to the moon alone, yet it may possibly be regarded as on a par with the extravagant praise given elsewhere to the soma-plant, and not be so significant of the moon as it appears to be. Thus, in another passage of the same book, the soma, in similar language, is said to "lay light in the sun," a phrase scarcely compatible with the moon's sphere of activity[18].
The decision in regard to this question of interpretation is not to be reached so easily as one might suppose, considering that a whole book, the ninth, of the Rig Veda is dedicated to Soma, and that in addition to this there are many hymns addressed to him in the other books. For in the greater number of passages which may be cited for and against this theory the objector may argue that the generally extravagant praise bestowed upon Soma through the Veda is in any one case merely particularized, and that it is not incongruous to say of the divine soma-plant, "he lights the dark nights," when one reads in general that he creates all things, including the gods. On the other hand, the advocate of the theory may reply that everything which does not apply to the moon-god Soma may be used metaphorically of him. Thus, where it is said, "Soma goes through the purifying sieve," by analogy with the drink of the plant soma passing through the sieve the poet may be supposed to imagine the moon passing through the sieve-like clouds; and even when this sieve is expressly called the 'sheep's-tail sieve' and 'wool-sieve,' this may still be, metaphorically, the cloud-sieve (as, without the analogy, one speaks to-day of woolly clouds and the 'mare's tail').
So it happens that, with an hundred hymns addressed to Soma, it remains still a matter of discussion whether the soma addressed be the plant or the moon. Alfred Hillebrandt, to whom is due the problem in its present form, declares that everywhere[19] in the Rig Veda Soma means the moon. No better hymn can be found to illustrate the difficulty under which labors the soma-exegete than IX. 15, from which Hillebrandt takes the fourth verse as conclusive evidence that by soma only the moon is meant. In that case, as will be seen from the 'pails,' it must be supposed that the poet leaps from Soma to soma without warning. Hillebrandt does not include the mention of the pails in his citation; but in this, as in other doubtful cases, it seems to us better to give a whole passage than to argue on one or two verses torn from their proper position:
HYMN TO SOMA (IX. 15).
QUERY: Is the hymn addressed to the plant as it is pressed out into the pails, or to the moon?
1. This one, by means of prayer (or intelligence), comes through the fine (sieve), the hero, with swift car, going to the meeting with Indra.
2. This one thinks much for the sublime assembly of gods, where sit immortals.
3. This one is despatched and led upon a shining path, when
the active ones urge (him).[20]
4. This one, shaking his horns, sharpens (them), the bull of
the herd, doing heroic deeds forcibly.
5. This one hastens, the strong steed, with bright golden
beams, becoming of streams the lord.
6. This one, pressing surely through the knotty (sieve?) to
good things, comes down into the vessels.
7. This one, fit to be prepared, the active ones prepare in the pails, as he creates great food.
8. Him, this one, who has good weapons, who is most intoxicating, ten fingers and seven (or many) prayers prepare.
Here, as in IX. 70, Hillebrandt assumes that the poet turns suddenly from the moon to the plant. Against this might be urged the use of the same pronoun throughout the hymn. It must be confessed that at first sight it is almost as difficult to have the plant, undoubtedly meant in verses 7 and 8, represented by the moon in the preceding verses, as it is not to see the moon in the expression 'shaking his horns.' This phrase occurs in another hymn, where Hillebrandt, with the same certainty as he does here, claims it for the moon, though the first part of this hymn as plainly refers to the plant, IX. 70. 1, 4. Here the plant is a steer roaring like the noise of the Maruts (5-6), and then (as above, after the term steer is applied to the plant), it is said that he 'sharpens his horns,' and is 'sightly,' and further, 'he sits down in the fair place … on the wooly back,' etc., which bring one to still another hymn where are to be found like expressions, used, evidently, not of the moon, but of the plant, viz. to IX. 37, a hymn not cited by Hillebrandt:
This strong (virile) soma, pressed for drink, flows into the purifying vessel; this sightly (as above, where Hillebrandt says it is epithet of the moon), yellow, fiery one, is flowing into the purifying vessel; roaring into its own place (as above). This strong one, clear, shining (or purifying itself), runs through the shining places of the sky, slaying evil demons, through the sheep-hair-sieve. On the back of Trita this one shining (or purifying itself) made bright the sun with (his) sisters.[21] This one, slaying Vritra, strong, pressed out, finding good things (as above), uninjured, soma, went as if for booty. This god, sent forth by seers, runs into the vessels, the drop (indu) for Indra, quickly (or willingly).
So far as we can judge, after comparing these and the other passages that are cited by Hillebrandt as decisive for a lunar interpretation of soma, it seems quite as probable that the epithets and expressions used are employed of the plant metaphorically as that the poet leaps thus lightly from plant to moon. And there is a number of cases which plainly enough are indicative of the plant alone to make it improbable that Hillebrandt is correct in taking Soma as the moon 'everywhere in the Rig Veda.' It may be that the moon-cult is somewhat older than has been supposed, and that the language is consciously veiled in the ninth book to cover the worship of a deity as yet only partly acknowledged as such. But it is almost inconceivable that an hundred hymns should praise the moon; and all the native commentators, bred as they were in the belief of their day that soma and the moon were one, should not know that soma in the Rig Veda (as well as later) means the lunar deity. It seems, therefore, safer to abide by the belief that soma usually means what it was understood to mean, and what the general descriptions in the soma-hymns more or less clearly indicate, viz., the intoxicating plant, conceived of as itself divine, stimulating Indra, and, therefore, the causa movens of the demon's death, Indra being the causa efficiens. Even the allusions to soma being in the sky is not incompatible with this. For he is carried thence from the place of sacrifice. Thus too in 83. 1-2: "O lord of prayer[22], thy purifier (the sieve) is extended. Prevailing thou enterest its limbs on all sides. Raw (soma), that has not been cooked (with milk) does not enter into it. Only the cooked (soma), going through, enters it. The sieve of the hot drink is extended in the place of the sky. Its gleaming threads extend on all sides. This (soma's) swift (streams) preserve the man that purifies them, and wisely ascend to the back of the sky." In this, as in many hymns, the drink soma is clearly addressed; yet expressions are used which, if detached, easily might be thought to imply the moon (or the sun, as with Bergaigne)—a fact that should make one employ other expressions of the same sort with great circumspection.
Or, let one compare, with the preparation by the ten fingers, 85. 7: "Ten fingers rub clean (prepare) the steed in the vessels; uprise the songs of the priests. The intoxicating drops, as they purify themselves, meet the song of praise and enter Indra." Exactly the same images as are found above may be noted in IX. 87, where not the moon, but the plant, is conspicuously the subject of the hymn: "Run into the pail, purified by men go unto booty. They lead thee like a swift horse with reins to the sacrificial straw, preparing (or rubbing) thee. With good weapons shines the divine (shining) drop (Indu), slaying evil-doers, guarding the assembly; the father of the gods, the clever begetter, the support of the sky, the holder of earth…. This one, the soma (plant) on being pressed out, ran swiftly into the purifier like a stream let out, sharpening his two sharp horns like a buffalo; like a true hero hunting for cows; he is come from the highest press-stone," etc. It is the noise of soma dropping that is compared with 'roaring.' The strength given by (him) the drink, makes him appear as the 'virile one,' of which force is the activity, and the bull the type. Given, therefore, the image of the bull, the rest follows easily to elaborate the metaphor. If one add that soma is luminous (yellow), and that all luminous divinities are 'horned bulls[23],' then it will be unnecessary to see the crescent moon in soma. Moreover, if soma be the same with Brihaspati, as thinks Hillebrandt, why are there three horns in V. 43. 13? Again, that the expression 'sharpening his horns' does not refer necessarily to the moon may be concluded from x. 86. 15, where it is stated expressly that the drink is a sharp-horned steer: "Like a sharp-horned steer is thy brewed drink, O Indra," probably referring to the taste. The sun, Agni, and Indra are all, to the Vedic poet, 'sharp-horned steers[24],' and the soma plant, being luminous and strong (bull-like), gets the same epithet.
The identity is rather with Indra than with the moon, if one be content to give up brilliant theorizing, and simply follow the poets: "The one that purifies himself yoked the sun's swift steed over man that he might go through the atmosphere, and these ten steeds of the sun he yoked to go, saying Indra is the drop (Indu)." When had ever the moon the power to start the sun? What part in the pantheon is played by the moon when it is called by its natural name (not by the priestly name, soma)? Is m[=a]s or candramas (moon) a power of strength, a great god? The words scarcely occur, except in late hymns, and the moon, by his own folk-name, is hardly praised except in mechanical conjunction with the sun. The floods of which soma is lord are explained in IX. 86. 24-25: "The hawk (or eagle) brought thee from the sky, O drop (Indu[25]), … seven milk-streams sing to the yellow one as he purifies himself with the wave in the sieve of sheep's wool. The active strong ones have sent forth the wise seer in the lap of the waters." If one wishes to clear his mind in respect of what the Hindu attributes to the divine drink (expressly drink, and not moon), let him read IX. 104, where he will find that "the twice powerful god-rejoicing intoxicating drink" finds goods, finds a path for his friends, puts away every harmful spirit and every devouring spirit, averts the false godless one and all oppression; and read also ix. 21. I-4: "These soma-drops for Indra flow rejoicing, maddening, light-(or heaven-) finding, averting attackers, finding desirable things for the presser, making life for the singer. Like waves the drops flow into one vessel, playing as they will. These soma-drops, let out like steeds (attached) to a car, as they purify themselves, attain all desirable things." According to IX. 97. 41^2 and ib. 37. 4 (and other like passages, too lightly explained, p. 387, by Hillebrandt), it is soma that "produced the light in the sun" and "makes the sun rise," statements incompatible with the (lunar) Soma's functions, but quite in accordance with the magic power which the poets attribute to the divine drink. Soma is 'king over treasure.' Soma is brought by the eagle that all may "see light" (IX. 48. 3-4). He traverses the sky, and guards order—but not necessarily is he here the moon, for soma, the drink, as a "galloping steed," "a brilliant steer," a "stream of pressed soma," "a dear sweet," "a helper of gods," is here poured forth; after him "flow great water-floods"; and he "purifies himself in the sieve, he the supporter, holder of the sky"; he "shines with the sun," "roars," and "looks like Mitra"; being here both "the intoxicating draught," and at the same time "the giver of kine, giver of men, giver of horses, giver of strength, the soul of sacrifice" (IX. 2).
Soma is even older than the Vedic Indra as slayer of Vritra and snakes. Several Indo-Iranian epithets survive (of soma and haoma, respectively), and among those of Iran is the title 'Vritra-slayer,' applied to haoma, the others being 'strong' and 'heaven-winning,' just as in the Veda[26]. All three of them are contained in one of the most lunar-like of the hymns to Soma, which, for this reason, and because it is one of the few to this deity that seem to be not entirely mechanical, is given here nearly in full, with the original shift of metre in the middle of the hymn (which may possibly indicate that two hymns have been united).
To SOMA (I. 91).
Thou, Soma, wisest art in understanding;
Thou guidest (us) along the straightest pathway;
'Tis through thy guidance that our pious[27] fathers
Among the gods got happiness, O Indu.
Thou, Soma, didst become in wisdom wisest;
In skill[28] most skilful, thou, obtaining all things.
A bull in virile strength, thou, and in greatness;
In splendor wast thou splendid, man-beholder.
Thine, now, the laws of kingly Varuna[29];
Both high and deep the place of thee, O Soma.
Thou brilliant art as Mitra, the belovèd[30],
Like Aryaman, deserving service, art thou.
Whate'er thy places be in earth or heaven,
Whate'er in mountains, or in plants and waters,
In all of these, well-minded, not injurious,
King Soma, our oblations meeting, take thou.
Thou, Soma, art the real lord,
Thou king and Vritra-slayer, too;
Thou art the strength that gives success.
And, Soma, let it be thy will
For us to live, nor let us die[31];
Thou lord of plants[32], who lovest praise.
Thou, Soma, bliss upon the old,
And on the young and pious man
Ability to live, bestowest.
Do thou, O Soma, on all sides
Protect us, king, from him that sins,
No harm touch friend of such as thou.
Whatever the enjoyments be
Thou hast, to help thy worshipper,
With these our benefactor be.
This sacrifice, this song, do thou,
Well-pleased, accept; come unto us;
Make for our weal, O Soma, thou.
In songs we, conversant with words,
O Soma, thee do magnify;
Be merciful and come to us.
* * *[33]
All saps unite in thee and all strong powers,
All virile force that overcomes detraction;
Filled full, for immortality, O Soma,
Take to thyself the highest praise in heaven.
The sacrifice shall all embrace—whatever
Places thou hast, revered with poured oblations.
Home-aider, Soma, furtherer with good heroes,
Not hurting heroes, to our houses come thou.
Soma the cow gives; Soma, the swift charger;
Soma, the hero that can much accomplish
(Useful at home, in feast, and in assembly
His father's glory)—gives, to him that worships.
In war unharmed; in battle still a saviour;
Winner of heaven and waters, town-defender,
Born mid loud joy, and fair of home and glory,
A conqueror, thou; in thee may we be happy.
Thou hast, O Soma, every plant begotten;
The waters, thou; and thou, the cows; and thou hast
Woven the wide space 'twixt the earth and heaven;
Thou hast with light put far away the darkness.
With mind divine, O Soma, thou divine[34] one,
A share of riches win for us, O hero;
Let none restrain thee, thou art lord of valor;
Show thyself foremost to both sides in battle[35].
Of more popular songs, Hillebrandt cites as sung to Soma (!) VIII. 69. 8-10:
Sing loud to him, sing loud to him;
Priyamedhas, oh, sing to him,
And sing to him the children, too;
Extol him as a sure defence….
To Indra is the prayer up-raised.
The three daily soma-oblations are made chiefly to Indra and V[=a]yu; to Indra at mid-day; to the Ribhus, artisans of the gods, at evening; and to Agni in the morning.
Unmistakable references to Soma as the moon, as, for instance, in X. 85. 3: "No one eats of that soma which the priests know," seem rather to indicate that the identification of moon and Soma was something esoteric and new rather than the received belief of pre-Vedic times, as will Hillebrandt. This moon-soma is distinguished from the "soma-plant which they crush."
The floods of soma are likened to, or, rather, identified with, the rain-floods which the lightning frees, and, as it were, brings to earth with him. A whole series of myths depending on this natural phenomenon has been evolved, wherein the lightning-fire as an eagle brings down soma to man, that is, the heavenly drink. Since Agni is threefold and the G[=a]yatri metre is threefold, they interchange, and in the legends it is again the metre which brings the soma, or an archer, as is stated in one doubtful passage[36].
What stands out most clearly in soma-laudations is that the soma-hymns are not only quite mechanical, but that they presuppose a very complete and elaborate ritual, with the employment of a number of priests, of whom the hotars (one of the various sets of priests) alone number five in the early and seven in the late books; with a complicated service; with certain divinities honored at certain hours; and other paraphernalia of sacerdotal ceremony; while Indra, most honored with Soma, and Agni, most closely connected with the execution of sacrifice, not only receive the most hymns, but these hymns are, for the most part, palpably made for ritualistic purposes. It is this truth that the ritualists have seized upon and too sweepingly applied. For in every family book, besides this baksheesh verse, occur the older, purer hymns that have been retained after the worship for which they were composed had become changed into a trite making of phrases.
Hillebrandt has failed to show that the Iranian haoma is the moon, so that as a starting-point there still is plant and drink-worship, not moon-worship. At what precise time, therefore, the soma was referred to the moon is not so important. Since drink-worship stands at one end of the series, and moon-worship at the other, it is antecedently probable that here and there there may be a doubt as to which of the two was intended. Some of the examples cited by Hillebrandt may indeed be referable to the latter end of the series rather than to the former; but that the author, despite the learning and ingenuity of his work, has proved his point definitively, we are far from believing. It is just like the later Hindu speculation to think out a subtle connection between moon and soma-plant because each was yellow, and swelled, and went through a sieve (cloud), etc. But there is a further connecting link in that the divinity ascribed to the intoxicant led to a supposition that it was brought from the sky, the home of the gods; above all, of the luminous gods, which the yellow soma resembled. Such was the Hindu belief, and from this as a starting-point appears to have come the gradual identification of soma with the moon, now called Soma. For the moon, even under the name of Gandharva, is not the object of especial worship.
The question so ably discussed by Hillebrandt is, however, one of considerable importance from the point of view of the religious development. If soma from the beginning was the moon, then there is only one more god of nature to add to the pantheon. But if, as we believe in the light of the Avesta and Veda itself, soma like haoma, was originally the drink-plant (the root su press, from which comes soma, implies the plant), then two important facts follow. First, in the identification of yellow soma-plant with yellow moon in the latter stage of the Rig Veda (which coincides with the beginning of the Brahmanic period) there is a striking illustration of the gradual mystical elevation of religion at the hands of the priests, to whom it appeared indecent that mere drink should be exalted thus; and secondly, there is the significant fact that in the Indic and Iranian cult there was a direct worship of deified liquor, analogous to Dionysiac rites, a worship which is not unparalleled in other communities. Again, the surprising identity of worship in Avesta and Veda, and the fact that hymns to the earlier deities, Dawn, Parjanya, etc, are frequently devoid of any relation to the soma-cult not only show that Bergaigne's opinion that the whole Rig Veda is but a collection of hymns for soma-worship as handed down in different families must be modified; but also that, as we have explained apropos of Varuna, the Iranian cult must have branched off from the Vedic cult (whether, as Haug thought, on account of a religious schism or not); that the hymns to the less popular deities (as we have defined the word) make the first period of Vedic cult; and that the special liquor-cult, common to Iran and India, arose after the first period of Vedic worship, when, for example, Wind, Parjanya, and Varuna were at their height, and before the priests had exalted mystically Agni or Soma, and even Indra was as yet undeveloped.
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