Chips from a German Workshop, Volume 1 / Essays on the Science of Religion

by F. Max Müller

Fortunately, the hymns to be recited by the third class were not arranged in a sacrificial prayer-book, but were preserved in an old collection of hymns, containing all that had been saved of ancient, sacred, and popular poetry, more like the Psalms than like a ritual; a collection made for its own sake, and not for the sake of any sacrificial performances.

I shall, therefore, confine my remarks to the Rig-veda, which in the eyes of the historical student is the Veda par excellence. Now Rig-veda means the Veda of hymns of praise, for Rich, which before the initial soft letter of Veda is changed to Rig, is derived from a root which in Sanskrit means to celebrate.

In the Rig-veda we must distinguish again between the original collection of the hymns or Mantras, called the Sanhitâ or the collection, being entirely metrical and poetical, and a number of prose works, called Brâhmanas and Sûtras, written in prose, and giving information on the proper use of the hymns at sacrifices, on their sacred meaning, on their supposed authors, and similar topics. These works, too, go by the name of Rig-veda: but though very curious in themselves, they are evidently of a much later period, and of little help to us in tracing the beginnings of religious life in India. For that purpose we must depend entirely on the hymns, such as we find them in the Sanhitâ or the collection of the Rig-veda.

Now this collection consists of ten books, and contains altogether 1028 hymns. As early as about 600 b.c. we find that in the theological schools of India every verse, every word, every syllable of the Veda had been carefully counted. The number of verses as computed in treatises of that date, varies from 10,402 to 10,622; that of the words is 153,826, that of the syllables 432,000.[12] With these numbers, and with the description given in these early treatises of each hymn, of its metre, its deity, its number of verses, our modern MSS. of the Veda correspond as closely as could be expected.

I say, our modern MSS., for all our MSS. are modern, and very modern. Few Sanskrit MSS. are more than four or five hundred years old, the fact being that in the damp climate of India no paper will last for more than a few centuries. How then, you will naturally ask, can it be proved that the original hymns were composed between 1200 and 1500 before the Christian era, if our MSS. only carry us back to about the same date after the Christian era? It is not very easy to bridge over this gulf of nearly three thousand years, but all I can say is that, after carefully examining every possible objection that can be made against the date of the Vedic hymns, their claim to that high antiquity which is ascribed to them, has not, as far as I can judge, been shaken. I shall try to explain on what kind of evidence these claims rest.

You know that we possess no MS. of the Old Testament in Hebrew older than about the tenth century after the Christian era; yet the Septuagint translation by itself would be sufficient to prove that the Old Testament, such as we now read it, existed in MS. previous, at least, to the third century before our era. By a similar train of argument, the works to which I referred before, in which we find every hymn, every verse, every word and syllable of the Veda accurately counted by native scholars about five or six hundred years before Christ, guarantee the existence of the Veda, such as we now read it, as far back at least as five or six hundred years before Christ. Now in the works of that period, the Veda is already considered, not only as an ancient, but as a sacred book; and, more than this, its language had ceased to be generally intelligible. The language of India had changed since the Veda was composed, and learned commentaries were necessary in order to explain to the people, then living, the true purport, nay, the proper pronunciation, of their sacred hymns. But more than this. In certain exegetical compositions, which are generally comprised under the name of Sûtras, and which are contemporary with, or even anterior to, the treatises on the theological statistics just mentioned, not only are the ancient hymns represented as invested with sacred authority, but that other class of writings, the Brâhmanas, standing half-way between the hymns and the Sûtras, have likewise been raised to the dignity of a revealed literature. These Brâhmanas, you will remember, are prose treatises, written in illustration of the ancient sacrifices and of the hymns employed at them. Such treatises would only spring up when some kind of explanation began to be wanted both for the ceremonial and for the hymns to be recited at certain sacrifices, and we find, in consequence, that in many cases the authors of the Brâhmanas had already lost the power of understanding the text of the ancient hymns in its natural and grammatical meaning, and that they suggested the most absurd explanations of the various sacrificial acts, most of which, we may charitably suppose, had originally some rational purpose. Thus it becomes evident that the period during which the hymns were composed must have been separated by some centuries, at least, from the period that gave birth to the Brâhmanas, in order to allow time for the hymns growing unintelligible and becoming invested with a sacred character. Secondly, the period during which the Brâhmanas were composed must be separated by some centuries from the authors of the Sûtras, in order to allow time for further changes in the language, and more particularly for the growth of a new theology, which ascribed to the Brâhmanas the same exceptional and revealed character which the Brâhmanas themselves ascribed to the hymns. So that we want previously to 600 b.c., when every syllable of the Veda was counted, at least two strata of intellectual and literary growth, of two or three centuries each; and are thus brought to 1100 or 1200 b.c. as the earliest time when we may suppose the collection of the Vedic hymns to have been finished. This collection of hymns again contains, by its own showing, ancient and modern hymns, the hymns of the sons together with the hymns of their fathers and earlier ancestors; so that we cannot well assign a date more recent than 1200 to 1500 before our era, for the original composition of those simple hymns which up to the present day are regarded by the Brahmans with the same feelings with which a Mohammedan regards the Koran, a Jew the Old Testament, a Christian his Gospel.

That the Veda is not quite a modern forgery can be proved, however, by more tangible evidence. Hiouen-thsang, a Buddhist pilgrim, who travelled from China to India in the years 629-645, and who, in his diary translated from Chinese into French by M. Stanislas Julien, gives the names of the four Vedas, mentions some grammatical forms peculiar to the Vedic Sanskrit, and states that at his time young Brahmans spent all their time, from the seventh to the thirtieth year of their age, in learning these sacred texts. At the time when Hiouen-thsang was travelling in India, Buddhism was clearly on the decline. But Buddhism was originally a reaction against Brahmanism, and chiefly against the exclusive privileges which the Brahmans claimed, and which from the beginning were represented by them as based on their revealed writings, the Vedas, and hence beyond the reach of human attacks. Buddhism, whatever the date of its founder, became the state religion of India under Asoka, the Constantine of India, in the middle of the third century b.c. This Asoka was the third king of a new dynasty founded by Kandragupta, the well-known contemporary of Alexander and Seleucus, about 315 b.c. The preceding dynasty was that of the Nandas, and it is under this dynasty that the traditions of the Brahmans place a number of distinguished scholars whose treatises on the Veda we still possess, such as Saunaka, Kâtyâyana, Âsvalâyana, and others. Their works, and others written with a similar object and in the same style, carry us back to about 600 b.c. This period of literature, which is called the Sûtra period, was preceded, as we saw, by another class of writings, the Brâhmanas, composed in a very prolix and tedious style, and containing lengthy lucubrations on the sacrifices and on the duties of the different classes of priests. Each of the three or four Vedas, or each of the three or four classes of priests, has its own Brâhmanas and its own Sûtras; and as the Brâhmanas are presupposed by the Sûtras, while no Sûtra is ever quoted by the Brâhmanas, it is clear that the period of the Brâhmana literature must have preceded the period of the Sûtra literature. There are, however, old and new Brâhmanas, and there are in the Brâhmanas themselves long lists of teachers who handed down old Brâhmanas or composed new ones, so that it seems impossible to accommodate the whole of that literature in less than two centuries, from about 800 to 600 b.c. Before, however, a single Brâhmana could have been composed, it was not only necessary that there should have been one collection of ancient hymns, like that contained in the ten books of the Rig-veda, but the three or four classes of priests must have been established, the officiating priests and the choristers must have had their special prayer-books, nay, these prayer-books must have undergone certain changes, because the Brâhmanas presuppose different texts, called sâkhâs, of each of these prayer-books, which are called the Yagur-veda-sanhitâ, the Sâma-veda-sanhitâ, and the Atharva-veda-sanhitâ. The work of collecting the prayers for the different classes of priests, and of adding new hymns and formulas for purely sacrificial purposes, belonged probably to the tenth century b.c., and three generations more would, at least, be required to account for the various readings adopted in the prayer-books by different sects, and invested with a kind of sacred authority, long before the composition of even the earliest among the Brâhmanas. If, therefore, the years from about 1000 to 800 b.c. are assigned to this collecting age, the time before 1000 b.c. must be set apart for the free and natural growth of what was then national and religious, but not yet sacred and sacrificial poetry. How far back this period extends it is impossible to tell; it is enough if the hymns of the Rig-veda can be traced to a period anterior to 1000 b.c.

Much in the chronological arrangement of the three periods of Vedic literature that are supposed to have followed the period of the original growth of the hymns, must of necessity be hypothetical, and has been put forward rather to invite than to silence criticism. In order to discover truth, we must be truthful ourselves, and must welcome those who point out our errors as heartily as those who approve and confirm our discoveries. What seems, however, to speak strongly in favour of the historical character of the three periods of Vedic literature is the uniformity of style which marks the productions of each. In modern literature we find, at one and the same time, different styles of prose and poetry cultivated by one and the same author. A Goethe writes tragedy, comedy, satire, lyrical poetry, and scientific prose; but we find nothing like this in primitive literature. The individual is there much less prominent, and the poet's character disappears in the general character of the layer of literature to which he belongs. It is the discovery of such large layers of literature following each other in regular succession which inspires the critical historian with confidence in the truly historical character of the successive literary productions of ancient India. As in Greece there is an epic age of literature, where we should look in vain for prose or dramatic poetry; as in that country we never meet with real elegiac poetry before the end of the eighth century, nor with iambics before the same date; as even in more modern times rhymed heroic poetry appears in England with the Norman conquest, and in Germany the Minnesänger rise and set with the Swabian dynasty—so, only in a much more decided manner, we see in the ancient and spontaneous literature of India, an age of poets followed by an age of collectors and imitators, that age to be succeeded by an age of theological prose writers, and this last by an age of writers of scientific manuals. New wants produced new supplies, and nothing sprang up or was allowed to live, in prose or poetry, except what was really wanted. If the works of poets, collectors, imitators, theologians, and teachers were all mixed up together—if the Brâhmanas quoted the Sûtras, and the hymns alluded to the Brâhmanas—an historical restoration of the Vedic literature of India would be almost an impossibility. We should suspect artificial influences, and look with small confidence on the historical character of such a literary agglomerate. But he who would question the antiquity of the Veda must explain how the layers of literature were formed that are super-imposed over the original stratum of the poetry of the Rishis; he who would suspect a literary forgery must show how, when, and for what purpose the 1000 hymns of the Rig-veda could have been forged, and have become the basis of the religious, moral, political, and literary life of the ancient inhabitants of India.

The idea of revelation, and I mean more particularly book-revelation, is not a modern idea, nor is it an idea peculiar to Christianity. Though we look for it in vain in the literature of Greece and Rome, we find the literature of India saturated with this idea from beginning to end. In no country, I believe, has the theory of revelation been so minutely elaborated as in India. The name for revelation in Sanskrit is Sruti, which means hearing; and this title distinguishes the Vedic hymns and, at a later time, the Brâhmanas also, from all other works, which, however sacred, and authoritative to the Hindu mind, are admitted to have been composed by human authors. The Laws of Manu, for instance, according to the Brahmanic theology, are not revelation; they are not Sruti, but only Smriti, which means recollection or tradition. If these laws or any other work of authority can be proved on any point to be at variance with a single passage of the Veda, their authority is at once overruled. According to the orthodox views of Indian theologians, not a single line of the Veda was the work of human authors. The whole Veda is in some way or other the work of the Deity; and even those who received the revelation, or, as they express it, those who saw it, were not supposed to be ordinary mortals, but beings raised above the level of common humanity, and less liable therefore to error in the reception of revealed truth. The views entertained of revelation by the orthodox theologians of India are far more minute and elaborate than those of the most extreme advocates of verbal inspiration in Europe. The human element, called paurusheyatva in Sanskrit, is driven out of every corner or hiding-place, and as the Veda is held to have existed in the mind of the Deity before the beginning of time, every allusion to historical events, of which there are not a few, is explained away with a zeal and ingenuity worthy of a better cause.

But let me state at once that there is nothing in the hymns themselves to warrant such extravagant theories. In many a hymn the author says plainly that he or his friends made it to please the gods; that he made it, as a carpenter makes a chariot (Rv. I. 130, 6; V. 2, 11), or like a beautiful vesture (Rv. V. 29, 15); that he fashioned it in his heart and kept it in his mind (Rv. I. 171, 2); that he expects, as his reward, the favour of the god whom he celebrates (Rv. IV. 6, 21). But though the poets of the Veda know nothing of the artificial theories of verbal inspiration, they were not altogether unconscious of higher influences: nay, they speak of their hymns as god-given ('devattam,' Rv. III. 37, 4). One poets says (Rv. VI. 47, 10): 'O god (Indra) have mercy, give me my daily bread! Sharpen my mind, like the edge of iron. Whatever I now may utter, longing for thee, do thou accept it; make me possessed of God!' Another utters for the first time the famous hymn, the Gâyatrî, which now for more than three thousand years has been the daily prayer of every Brahman, and is still repeated every morning by millions of pious worshippers: 'Let us meditate on the adorable light of the divine Creator: may he rouse our minds.'[13] This consciousness of higher influences, or of divine help in those who uttered for the first time the simple words of prayer, praise, and thanksgiving, is very different, however, from the artificial theories of verbal inspiration which we find in the later theological writings; it is indeed but another expression of that deepfelt dependence on the Deity, of that surrender and denial of all that seems to be self, which was felt more or less by every nation, but by none, I believe, more strongly, more constantly, than by the Indian. "It is He that has made it,"—namely, the prayer in which the soul of the poet has thrown off her burden,—is but a variation of, "It is He that has made us," which is the key-note of all religion, whether ancient or modern, whether natural or revealed.