In the last chapter we have traced the character of two great gods of earth, the altar-fire and the personified kind of beer which was the Vedic poets' chief drink till the end of this period. With the discovery of sur[=a], humor ex hordeo (oryzaque; Weber, V[=a]japeya, p. 19), and the difficulty of obtaining the original soma-plant (for the plant used later for soma, the asclepias acida, or sarcostemma viminale, does not grow in the Punj[=a]b region, and cannot have been the original soma), the status of soma became changed. While sur[=a] became the drink of the people, soma, despite the fact that it was not now so agreeable a liquor, became reserved, from its old associations, as the priests' (gods') drink, a sacrosanct beverage, not for the vulgar, and not esteemed by the priest, except as it kept up the rite.
It has been shown that these gods, earthly in habitation, absorbed the powers of the older and physically higher divinities. The ideas that clustered about the latter were transferred to the former. The altar-fire, Agni, is at once earth-fire, lightning, and sun. The drink soma is identified with the heavenly drink that refreshes the earth, and from its color is taken at last to be the terrestrial form of its aqueous prototype, the moon, which is not only yellow, but even goes through cloud-meshes just as soma goes through the sieve, with all the other points of comparison that priestly ingenuity can devise.
Of different sort altogether from these gods is the ancient Indo-Iranian figure that now claims attention. The older religion had at least one object of devotion very difficult to reduce to terms of a nature-religion.
YAMA
Exactly as the Hindu had a half-divine ancestor, Manu, who by the later priests is regarded as of solar origin, while more probably he is only the abstract Adam (man), the progenitor of the race; so in Yama the Hindu saw the primitive "first of mortals." While, however, Mitra, Dyaus, and other older nature-gods, pass into a state of negative or almost forgotten activity, Yama, even in the later epic period, still remains a potent sovereign—the king of the dead.
In the Avesta Yima is the son of the 'wide-gleaming' Vivanghvant, the sun, and here it is the sun that first prepares the soma (haoma) for man. And so, too, in the Rig Veda it is Yama the son of Vivasvant (X. 58. 1; 60. 10) who first "extends the web" of (soma) sacrifice (VII. 33. 9, 12). The Vedic poet, not influenced by later methods of interpretation, saw in Yama neither sun nor moon, nor any other natural phenomenon, for thus he sings, differentiating Yama from them all: "I praise with a song Agni, P[=u]shan, Sun and Moon, Yama in heaven, Trita, Wind, Dawn, the Ray of Light, the Twin Horsemen" (X. 64. 3); and again: "Deserving of laudation are Heaven and Earth, the four-limbed Agni, Yama, Aditi," etc. (X. 92. 11).
Yama is regarded as a god, although in the Rig Veda he is called only 'king' (X. 14. 1, 11); but later he is expressly a god, and this is implied, as Ehni shows, even in the Rig Veda: 'a god found Agni' and 'Yama found Agni' (X. 51. 1 ff.). His primitive nature was that of the 'first mortal that died,' in the words of the Atharva Veda. It is true, indeed, that at a later period even gods are spoken of as originally 'mortal,'[1] but this is a conception alien from the early notions of the Veda, where 'mortal' signifies no more than 'man.' Yama was the first mortal, and he lives in the sky, in the home that "holds heroes," i.e., his abode is where dead heroes congregate (I. 35. 6; X. 64. 3)[2]. The fathers that died of old are cared for by him as he sits drinking with the gods beneath a fair tree (X. 135. 1-7). The fire that devours the corpse is invoked to depart thither (X. 16. 9). This place is not very definitely located, but since, according to one prevalent view, the saints guard the sun, and since Yama's abode in the sky is comparable with the sun in one or two passages, it is probable that the general idea was that the departed entered the sun and there Yama received him (I. 105. 9, 'my home is there where are the sun's rays'; X. 154. 4-5, 'the dead shall go, O Yama, to the fathers, the seers that guard the sun'). 'Yama's abode' is the same with 'sky' (X. 123. 6); and when it is said, 'may the fathers hold up the pillar (in the grave), and may Yama build a seat for thee there' (X. 18. 13), this refers, not to the grave, but to heaven. And it is said that 'Yama's seat is what is called the gods' home' (X. 135. 7)[3]. But Yama does not remain in the sky. He comes, as do other Powers, to the sacrifice, and is invited to seat himself 'with Angirasas and the fathers' at the feast, where he rejoices with them (X. 14. 3-4; 15. 8). And either because Agni devours corpses for Yama, or because of Agni's part in the sacrifice which Yama so joyfully attends, therefore Agni is especially mentioned as Yama's friend (X. 21. 5), or even his priest (ib. 52. 3). Yama stands in his relation to the dead so near to death that 'to go on Yama's path' is to go on the path of death; and battle is called 'Yama's strife.' It is even possible that in one passage Yama is directly identified with death (X. 165. 4, 'to Yama be reverence, to death'; I. 38. 5; ib. 116. 2)[4]. There is always a close connection between Varuna and Yama, and perhaps it is owing to this that parallel to 'Varuna's fetters' is found also 'Yama's fetter,' i.e., death (x. 97. 16).
As Yama was the first to die, so was he the first to teach man the road to immortality, which lies through sacrifice, whereby man attains to heaven and to immortality. Hence the poet says, 'we revere the immortality born of Yama' (i. 83. 5). This, too, is the meaning of the mystic verse which speaks of the sun as the heavenly courser 'given by Yama,' for, in giving the way to immortality, Yama gives also the sun-abode to them that become immortal. In the same hymn the sun is identified with Yama as he is with Trita (i. 163. 3). This particular identification is due, however, rather to the developed pantheistic idea which obtains in the later hymns. A parallel is found in the next hymn: "They speak of Indra, Mitra, Varuna, Agni … that which is one, the priests speak of in many ways, and call him Agni, Yama, Fire" (or Wind, i. 164. 46).
Despite the fact that one Vedic poet speaks of Yama's name as 'easy to understand' (x. 12. 6), no little ingenuity has been spent on it, as well as on the primitive conception underlying his personality. Etymologically, his name means Twin, and this is probably the real meaning, for his twin sister Yami is also a Vedic personage. The later age, regarding Yama as a restrainer and punisher of the wicked, derived the name from yam the restrainer or punisher, but such an idea is quite out of place in the province of Vedic thought. The Iranian Yima also has a sister of like name, although she does not appear till late in the literature.
That Yama's father is the sun, Vivasvant (Savitar, 'the artificer,' Tvashtar, x. 10. 4-5),[5] is clearly enough stated in the Rik; and that he was the first mortal, in the Atharvan. Men come from Yama, and Yama comes from the sun as 'creator,' just as men elsewhere come from Adam and Adam comes from the Creator. But instead of an Hebraic Adam and Eve there are in India a Yama and Yam[=i], brother and sister (wife), who, in the one hymn in which the latter is introduced (loc. cit.), indulge in a moral conversation on the propriety of wedlock between brother and sister. This hymn is evidently a protest against a union that was unobjectionable to an older generation. In the Yajur Veda Yami is wife and sister both. But sometimes, in the varying fancies of the Vedic poets, the artificer Tvashtar is differentiated from Vivasvant, the sun; as he is in another passage, where Tvashtar gives to Vivasvant his daughter, and she is the mother of Yama[6].